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: 1924 


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| NeAnk | 
SALE NUMBER 1871 
PUBLIC EXHIBITION FROM SUNDAY, NOVEMBER SECOND 


DRAWINGS BY 
THE OLD MASTERS 


FROM THE COLLECTIONS OF 


RICHARD EDERHEIMER 


NEW YORK 
AND THE LATE 


FAIRFAX MURRAY 


LONDON, ENGLAND 


TO BE SOLD BY AUCTION 
THURSDAY, FRIDAY EVENINGS 
NOVEMBER SIXTH, SEVENTH 
AT EIGHT-FIFTEEN O CLOCK 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, Present] 


489 PARK AVENUE AT FIFTY“NINTH STREET, NEW YORK 


1924 


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PIERO DELLA FRANCESCA 


[NUMBER 232] 


SALE NUMBER I87I 
PUBLIC EXHIBITION FROM SUNDAY, NOVEMBER SECOND 


DRAWINGS BY 
iia OLD MASTERS 


FROM THE COLLECTIONS OF 


RICHARD EDERHEIMER 


NEW YORK 
AND THE LATE 


FAIRFAX MURRAY 


LONDON, ENGLAND 


TO BE SOLD BY AUCTION 
THURSDAY, FRIDAY EVENINGS 
NOVEMBER SIXTH, SEVENTH 
AT EIGHT-FIFTEEN O CLOCK 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, Presipent | 
489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 


1924 


CONDITIONS OF SALE 


ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. 

The highest bidder to be the buyer. In all cases of disputed bids the decision 
of the Auctioneer shall be final. 

Buyers to give their names and addresses and to make such cash payments on 
account as may be required, in default of which the lots purchased shall be 
resold immediately. 

Purchases to be removed at the buyer’s expense and risk within twenty-four 
hours from the conclusion of the sale, and the remainder of the purchase money 
to be paid on or before delivery, in default of which The Anderson Galleries, 
Incorporated, will not be responsible for any loss or damage whatever, but the 
lot or lots will be left at the sole risk of the purchaser, and subject to storage 
charges. 

All lots will be placed on public exhibition before the date of sale, for examina- 
tion by intending purchasers, and The Anderson Galleries, Incorporated, will 
not be responsible for the correctness of the description, authenticity, genuine- 
ness, or for any defect or fault in or concerning any lot, and make no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. 

If accounts are not paid and purchases removed within twenty-four hours of the 
conclusion of the sale, or, in the case of absent buyers, when bills are rendered, 
any sum deposited as part payment shall be forfeited, and The Anderson Gal- 
leries, Incorporated, reserve the right to resell the lot or lots by either private 
or public sale, without further notice, and if any deficiency arises from such 
resale it shall be made good by the defaulter, together with all expenses in- 
curred. This condition shall be without prejudice to the right of this Com- 
pany to enforce the sale contract and collect the amount due without such 
resale, at its own option. 

The Anderson Galleries, Incorporated, will afford every facility for the employ- 
ment of carricrs and packers by the purchasers, but will not be responsible 
for any damage arising from the acts of such carriers and packers. 

The Anderson Galleries make no charge for executing orders for their cus- 
tomers and use all bids competitively, buying at the lowest price permitted 
by other bids. 


A Priced Copy of this Catalogue may be obtained for One Dollar 


THE ANDERSON GALLERIES, INC. 
PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 


TELEPHONE PLAZA 9356 . 
SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN AND MR. A. N. BADE 


Mr. Epernemerr has been abroad for the last year and a half, and 
for twelve months had a studio in Florence. Until six years ago he 
was an active dealer in prints and drawings by Old Masters. When 
he took up portrait painting, he retired gradually from his former 
activities. But like every lover of drawings, he naturally let no oppor- 
tunity escape to acquire whatever seemed specially attractive to him, 
and after selling the greater part of his collection in 1919 he quickly 
gathered a new one. Forty of the pieces here presented were obtained 
by him during his leisure hours abroad. The rest are a part of his 
collection formed between 1919 and 1923. Only the best and most 
interesting specimens have been chosen from his much larger holdings. 
While refraining from offering his discoveries at private sale, as he 
used to do as a dealer, he naturally wishes to make some practical use 
of his knowledge and experience, so that he may be enabled to paint 
without compromise and without the handicap of too great an economic 
strain. He hopes that this sale will make it possible for him to con- 
tinue the work that he has taken up, without undue distractions for 
at any rate a short span of time. 

The second evening of the sale will be devoted entirely to drawings 
previously in the collection of the late Mr. Fairfax Murray. It is 
a well-known fact that Mr. Murray once sold his famous collection of 
original drawings to the late Mr. Pierpont Morgan, and they now 
form an important feature of the splendid Morgan Library. After 
disposing of his great collection, Mr. Murray continued until his death 
to gather the drawings that seemed significant to him. One day 
Mr. Ederheimer purchased ten very important drawings from the 
Florentine dealer, Bruscoli. Only after he had acquired these pieces 
did he learn that they had been consigned to the dealer by one of the 
sons of the late Mr. Murray, and originally formed a part of the 
collection which that gentleman bequeathed to his sons when he died. 
They were selected from a group of thirty fine drawings then offered. 
Shortly afterwards, the holdings of another son were offered to Mr. 
Kderheimer. Chey formed a collection of 825 drawings of various 
ranks and importance. Real lovers of drawings do not confine their 
interest to established things and great names. This collection 
contained a large number of so-called Italian Baroque drawings ; 
drawings of the late 16th and 17th centuries which attract the keen 
attention of the cognoscenti in Europe, though until now they have 
only slightly interested the collectors of America. Not being an exten- 
sive capitalist, Mr. Ederheimer had to refrain from acquiring this 


unusual collection, until a New York gentleman became sufficiently 


interested to enable him to make the purchase. But only 150 of the best 
drawings from the collection were selected. None of these have ever been 
shown in America. They were consigned to The Anderson Galleries 
from Europe, and are offered here to give all collectors an equal 
opportunity. 

It is unnecessary to dwell at any length upon the merits of the 
gathering that is about to be dispersed. ‘The descriptive part of the 
catalogue and the drawings will speak for themselves. But we feel 
that no collection of drawings of such importance ‘has been offered 
by auction in this country. 

The two sections of the catalogue have one thing in common: the 
late Mr. Murray was a pure lover of drawings, as Mr. Ederheimer is. 
The latter has gathered his treasures mainly from the standpoint of 
the artist, being always guided by the artistic value of the work 
rather than by the attribution or the name. Mr. Murray, spending 
the later years of his life in Italy, concentrated especially upon the 
Italian Schools, and his collection shows, besides almost unique trea- 
sures, a large number of fine drawings by Italian Masters of the 16th 
and 17th centuries,—specimens rarely encountered here before. 

Of the great features of the sale we may mention in the first place 
the extraordinary drawing by Piero della Francesca, considered to 
be the only known drawing by that Master, who is now regarded as 
one of the greatest painters of all times. ‘The Raphael drawing is 
no less important. Worthy of special notice are the group of Caracci 
drawings, the Baroccis, the Tiepolos, father and son, the Luini and 
many others. Of the Dutch and French drawings those by Claude 
Lorrain and by Willem Van de Velde are of exceptional interest. 

Mr. Ederheimer’s gathering is more varied in character: he has 
always focussed his attention more upon the northern schools. The 
primitive schools contain some quite extraordinary features. We 
mention only the Master of the Amsterdam Cabinet, the Master of the 
Playing Cards, and the wonderful Early Lombard School drawing. 
As to the Rembrandt group, we refer to Mr. Ederheimer’s interesting 
notes in the catalogue. The Rubens and Tiepolo drawings were ac- 
quired upon the advice of the greatest authority in the field. The 
Boucher group seems especially significant. The pair of Cupid 
subjects shows Boucher at his very best: they are quick decorations, 
jotted down by the Master in his brilliant dash. School drawings of 
carefully executed 18th century nudes command a better market, but 
nothing comes nearer to the fire of artistic creation of a Master than 
these pure drawings. 


The descriptive part of the catalogue was written by Mr. Eder- 
heimer. He offers no new attributions unless supported by high 
authority, but rather retains the old ones or refers the work simply 
to a school. If he does not agree fully with the old attribution he 
says so frankly, giving the reasons which have led to his decision. ‘The 
catalogue has been compiled with more than ordinary care, and should 
prove a conservative and trustworthy, as well as an interesting, guide 
to the collection. 


ORDER OF SALE 


THURSDAY EVENING, NOVEMBER SIXTH 


EARLY NETHERLANDS, GERMAN AND SWISS SCHOOLS © 1- 12 


FLEMISH AND DUTCH SCHOOLS 13- 59 
ITALIAN SCHOOLS 60- 98 
FRENCH SCHOOL, 16TH-18TH CENTURY 99-128 
ENGLISH AND AMERICAN SCHOOLS 129-147 
19TH CENTURY DRAWINGS 148-162 


FRIDAY EVENING, NOVEMBER SEVENTH 


DUTCH, FRENCH AND OTHER SCHOOLS 163-210 
ITALIAN SCHOOLS, 15TH AND 16TH CENTURIES 211-266 
ITALIAN SCHOOLS, 17TH CENTURY 267-308 
ITALIAN DRAWINGS, 18TH CENTURY 309-322 


PORTFOLIOS 323 


SALE THURSDAY EVENING, NOVEMBER DEX Eds jd 8:15 


FIRST SESSION 


NUMBERS 1-162 


EARLY NETHERLANDS, GERMAN AND SWISS SCHOOLS 


NUMBERS 1-12 


CORNELIS ENGELBRECHTSEN 


LEYDEN, 1468-1533 


Pee SING FEASTING, WHILE OUTSIDE HIS PALACE 
. A SAINT IS BEING MARTYRED 

Rich circular composition in chiaroscuro. Pen and India ink 

with white high-lights, on gray ground. Apparently designed 

for a glass window. Previously attributed to Jacob van 

Oostzanen. One of the characteristic glass painter compositions 

of the period, which are often attributed to Lucas Van Leyden. 


Diameter, 9 inches 


From the Collection of Ploos Van Amstel, and. the Collection of 


a New York Gentleman, sold at The Anderson Galleries, 


February 1921. 


THE MASTER OF THE AMSTERDAM CABINET 


| ALSO CALLED MASTER OF THE HOUSE-BOOK OR HEINRICH MANG | 
GERMAN, MIDDLE OF THE 1LDTH CENTURY 


2. ‘TWO COMPOSITIONS ON ONE SHEET 
Pen drawings heightened with water color, probably by a later 
hand. On the one side, Coronation of a Bishop, in a church, 
to the left of which, on the steps, numerous people are seen, some 
kneeling in prayer and others in vivid conversation. In the back- 
ground, to the left, a medieval street scene. On the reverse, a 
rich and puzzling composition. In the background can be seen 
apparently a reproduction of The Martyrdom of the Ten 
Thousand. Groups of prisoners are being tortured and beaten 
near the walls of the city. To the right, a group of martyrs 
on six crosses, while a seventh cross is being erected. In the 
middleground, a battle scene. In the foreground, a king sur- 
rounded by courtiers; to the right, a group of knights, standing. 
In the left hand lower corner, an old signature, ‘“Hupse Martin” 
(Handsome Martin), the name under which Martin Schongauer 
was known by his contemporaries. This drawing was known to 
the writer while still in English possession under the attribution 
to Schongauer. It, however, shows nothing of the minute 
technique of that master.. The peculiar penmanship is quite 
similar to the burin strokes of the Amsterdam cabinet engraver. 
The figure of the youth standing nearest the centre in the fore- 
ground is quite typical of the latter. An almost identical figure 
is to be seen in one of his best known engravings. Drawings of 
this period in such perfection of execution are extremely rare. 
Height, 81, inches; width, 5° inches 


Previously in the Collection of Van der Willigen, Amsterdam, and 
the Collection of a New York Gentleman, sold at The Anderson 
Galleries, February 1921. 


ATTRIBUTED TO HANS SEBALD BEHAM 


GERMAN SCHOOL, 1500-1550 


MAN AND WOMAN, RIDING ON A SEA-HORSE 
A crowned eagle above. A superb German pen drawing, very 
close to Diirer, possibly by Hans von Kulmbach. Drawings of 
this school are exceedingly rare. 

Height, 6% inches; width, 51% inches 


ATTRIBUTED TO HANS BURGKMAIR 


GERMAN SCHOOL, 16TH CENTURY 


SCENE FROM THE LIFE OF EMPEROR MAXIMILIAN 
Rich circular composition. Chiaroscuro drawing, in pen and 
India ink, with white high-lights on gray paper. 

An important drawing from the Gigoux and Lanna Collections. 
It was catalogued as Burgkmair in the Lanna sale, but Dr. 
Friedlaender to whom I submitted this drawing doubted the 
attribution and drew my attention to a series of twelve similar 
drawings for glass paintings in the Munich collection, assigned 
to Joerg Breu. This same composition is in that series, but in 
the reverse. Diameter, 924 inches 


HANS BALDUNG GRIEN 


GERMAN SCHOOL, 1480-1545 


ST. DIONYSIUS THE AREOPAGITE 
Full length, holding his own severed head upon a book. On the 
reverse, three figure studies in sanguine. Important pen draw- 
ing from the Dr. Waldeck and Lanna Collections. 

Height, 12 inches; width, 74 inches 


3 


~l 


HANS HOFFMANN 


NUREMBERG, 1548-1600 


DEAD PIGEON 

Beautiful gouache painting in the style of the famous drawings of 
birds by Durer. Height, 684 inches; width, 14 inches 
From the A. Artaria Collection. 


THE MASTER OF THE PLAYING CARDS 


GERMAN, WorkKED 1430-1440 


CHRIST TIED TO A COLUMN 
Being scourged by two executioners, a third one kneeling in the 
left centre, mending his scourge. Below, design of Gothic floral 
ornament. Pen drawing, heightened with red and yellow. The 
penmanship is quite identical with the burin work of the famous 
early engraver. This attribution has been confirmed by 
Dr. Fricdlaender, of the Berlin Museum, and other authorities. 
Drawing of first importance and of excessive rarity. Mounted 
on inside of an old book cover. 

Height, 734, inches; width, 5 inches 
From the Collection of a New York Gentleman, sold at The 


Anderson Galleries, February 1921, 


CHRISTOPH MURER (MAURER) 


FAMOUS SWISS GLASS PAINTER, 1558-1614 


ORPHEUS PLAYING TO THE ANIMALS 

Pen and India ink drawing from the R. Peltzer Collection, where 
it was attributed to Daniel Lindtmayer, 1552-1607, of the same 
school. This drawing, however, has been pronounced by a good 
authority as typical of the manner of Murer. Fine and rare 
specimen, Height, 64 inches; width, 84g mches 


A 


10 


ist 


12 


TOBIAS STIMMER 


SWISS-GERMAN, 1539-1592 


TWO BLIND MUSICIANS 
Chiaroscuro drawing in pen and India ink, with white high- 


lights on dark gray paper. Height, 614 inches; width, 7 inches 


DESIGN FOR A COAT-OF-ARMS 
Pen, India ink and touches of water color. <A fine 16th Century 
drawing from the Lanna Collection. Hexagonal. 


Height, 4 inches; width, 24% mches 


THE LAST JUDGMENT 
Pen drawing touched up in water color, rich composition. In 
upper centre, Christ in glory surrounded by saints and angels. 
To the left the resurrection of the blessed; to the right, the 
agonies of hell for the condemned. Signed on tablet with the 
monogram “T'S” and dated 1578. Probably drawn for a glass 
painting. A slight restoration covering break in a crease owing 
to having been folded through the centre. Highly interesting 
document for the art of the later 16th century. Drawings of 
such quality are of the greatest rarity. Circular. 

Diameter, 1214/4, inches 
From the Collection of a New York Gentleman, sold at The 
Anderson Galleries, February 1921. 


SWISS SCHOOL 


16TH CENTURY 


LARGE DESIGN FOR A GLASS PAINTING 

Representing Mary Magdalene drying the feet of Christ in the 
house of Simon, a kneeling donor in front, with the inscription: 
“Taurentzig Thunger (and an undecipherable word seemingly: 
Conventherr) zu Gruetzlingen Anno 1567.” The signature does 
not leave it quite clear whether it refers to the artist or the donor. 
Swiss glass designs of this quality are excedingly rare. 


Height, 151% inches; width, 101 inches 
5 


FLEMISH AND DUTCH SCHOOLS 


NUMBERS 13-59 


JACOB ADRIAN BACCKER 


DUTCH SCHOOL, LATE 17TH CENTURY 
13. PORTRAIT OF A MAN 


Black charcoal, heightened with white, on bluish-gray paper. 
Height, 131% inches; width, 1014 inches 


LUDOLPH BACKHUYZEN 


16351-1708 


14 SEASCAPE 
A beached schooner in the foreground, with its crew by a fire on 
shore; various vessels out at sea in the distance. 
Fine pen and India ink drawing from the Liphardt Coleennen 
Height, 354 inches; width, 584 imches 


DAVID BAILLIE 


DUTCH, EARLY 17TH CENTURY 


15 PORTRAIT OF A MAN 
Fine drawing in pen and charcoal suggesting the school of 
H. Goltzius. Circular. 


Diameter, 5 inches 


NICOLAS BERGHEM 


16 CHARCOAL STUDY 
Two sheep lying on the ground. 
Height, 61% inches; width, 914 inches 


6 


18 


yo) 


20 


21 


ABRAHAM BLOEMAERT 


1564-1658 


A RUINED FARM 
Man and woman in the left foreground. Pen, sepia and water 
color. Signed Bloemart 1650. 

Height, 9 inches; width, 13 inches 


RUINED HOUSES 


Water color drawing in the same style and medium as the pre- 
ceding number. Height, 614 inches; width, 81 inches 


ABRAHAM BLOEMAERT (PROBABLY ) 


1564-1658 


RUINED BARN 
This drawing, from the Colonel Harrison Collection, came into 
my hands attributed to Rembrandt, an attribution which I could 
not verify. The similarity in style suggests the same origin as 
the two preceding numbers. 

Height, 614 inches; width, 9 inches 


JOHANNES BRONKHORST 


1648-1727 


A SHEET WITH 24 PEN AND WATER COLOR STUDIES 

OF INSECTS 

Clever drawings, from the Armand Sigwalt Collection, Paris. 
Height, 31% inches; width, 74% inches 


CRISPIN DE PASSE 


1540-1629 


WOMAN PLAYING THE LUTE 

Design for an illustration of the Dutch legend: Genevieve de 

Brabant. Pen and sepia drawing from the Collections of the 

Marquis de Lagoy and William Mayor. Circular. Framed. 
Diameter, 444 mches 


KAREL DE MOOR 


1656-17388 
22 HEAD OF AN OLD MAN, READING 


India ink. From the Langerhuyzen Collection. 


Height, 4 inches; width, 3 inches 


CORNELIS DUSART 


1660-1704 
23 STUDY OF A MAN 


Full length, seated, holding a jug and smoking. Charcoal on 
gray paper. Height, 934 inches; width, 61/4 inches 


HENDRICK GOLTZIUS 


1558-1616 


24 WOMAN, CARESSING HER LITTLE BOY 
Grisaille painting in chiaroscuro. A highly interesting and 
characteristic work of Goltzius, betraying all his skill and ex- 
aggerated emphasis of the play of muscles. 


Height, 1084 imches; width, 7% inches 


SCHOOL OF HENDRICK GOLTZIUS 


END OF 16TH CENTURY 


bo 
Or 


APOLLO AND THE NINE MUSES 

Pen drawing, formerly attributed to Tobias Stimmer. For this 
attribution I see no foundation. It seems to me the work of a 
Dutch artist under strong Italian influence. 

Some of the faces point to Goltzius, but the lines do not seem 
precise enough. An interesting drawing. 


Height, 734 inches; width, 834 inches 
8 


bo 
=? 


JAN HOREMANS 


1682-1759 


THE LITTLE GLASS 


Man offering drink to a servant girl. Amusing sanguine 
drawing. Height, 71% inches; width, 6 inches 


JACOB JORDAENS 


1593-1678 


CHRIST WITH THE DISCIPLES AT EMAUS 

Christ seated at a richly laden table between the Disciples, who 
seem to be talking animatedly. Behind, a woman bringing a 
dish; to the left, a man pouring wine. A masterly color sketch 
in Jordaen’s most characteristic style. An unusually fine 
example. Height, 10 inches; width, 11144 inches 
From the R. Peltzer Collection, and the Collection of a New 
York Gentleman, sold at The Anderson Galleries, February, 1921. 


JACOB MATHAM 


PUPIL AND STEPSON OF HENDRIK GOLTZIUS 


HARLEM, 1551-1631 


A FESTIVAL ON OLYMPUS 
Pen drawing on Vellum; signed at lower right, “Jac. Matham 
fecit.” This composition seems to be the original design for the 
engraving by Matham, described in Bartsch, No. 21—which, 
however, is oval. 
Signed drawings by Matham are exceedingly rare. 

Height, 798 inches; width, 11°% inches 


JACOB DE WIT 


DUTCH SCHOOL, 18TH CENTURY 


HEAD OF A SAINT (MOSES?) 
Brilliant India ink drawing, signed in upper right corner. 
Height, 714 inches; width, 51% inches 


9 


REMBRANDT OR HIS SCHOOL 


NUMBERS 30-382 


Notre: ‘The above heading is meant to illustrate the caution 
which the writer thinks advisable in regard to nearly all the 
drawings, not only those here described, attributed to Rem- 
brandt. To the writer, the publication of Prof. John C. Van 
Dyke represents a welcome confirmation of an opinion long held: 
that is, that the name Rembrandt, as far as the paintings are 
concerned, does not concentrate upon the Master as one indi- 
vidual, but covers the work of an entire school. ‘This theory 
seems to apply to the drawings as well. To the writer it seems 
insignificant whether a drawing is attributed to Van Hoog- 
straaten or to Rembrandt, as long as such a drawing interests 
him and shows qualities that give him the thrill peculiar to each 
good drawing. He remembers sadly a case, when one of the 
leading London firms consigned to him a beautiful drawing in- 
voiced as a Rembrandt. It was sold on the strength of its 
beauty and the attribution on the invoice of the well-known 
London house, under the condition that this house would confirm 
the statement that the drawing was an authentic work by Rem- 
brandt. ‘This was almost six years ago, and no reply has come 
from that house yet. ‘The drawing was promply returned, and 
submitted to many authorities by me. About one half thought 
it a typical and unquestionably authentic drawing by Rem- 
brandt; the other half were less positive. My interpretation of 
the strange attitude of the London firm was that they simply did 
not want to be drawn into a controversy of experts. They 
acquired the drawing as a Rembrandt, offered it as such, and let 
it go at that. 


The drawings here were acquired in the spirit that they are as 
good as the greater part of the drawings in well-known collec- 
tions attributed to Rembrandt, and that it will not be difficult 
to have them certified or published. They seemed attractive to 
the writer, whether by Rembrandt or not, and they are offered 
here in that spirit. They have been submitted to a well-known 
local authority, but a reply could not be obtained before this 
catalogue was completed. 


10 


30 


REBECCA AND ELEAZAR 

Pen and sepia wash drawing, acquired in Berlin as of the School 
of Rembrandt, possibly Samuel van Hoogstraaten. Shortly after 
this purchase the writer came across a sales catalogue of Joseph 
Baer & Co., Frankfort, where this drawing was reproduced and 
offered as an authentic work by Rembrandt. Upon inquiry at 
Frankfort I learned that the drawing was previously in the collec- 
tion of a Frankfort painter. I even located the dealer who sold 
it to the previous owner, who assured me that when he sold the 
drawing he had the positive assurance of authorities that this 
was an authentic work by the Master. Previous to the sale by 
auction, one of the authorities cast doubt upon the authenticity 
of this drawing and it consequently went for a low figure and 
was sold to me by an honorable Berlin dealer under the cautious 
attribution. I bought it because I thought it was as good a 
Rembrandt drawing as most in the well-known collections, and 
that if parts of it might have been done in the studio by a pupil, 
the hand of the Master himself is undoubtedly to be found in 
other parts of the drawing. 


The following is a literal translation of the description in the 


Frankfort catalogue: (3 Mow, 1A 2! ) 


“Brown pen drawing, with brown, gray and white washes, 17, 
7-26, 6 cm. Watermark: Coat-of-Arms of Amsterdam. Origi- 
nated about 1635. Rebecca stands at the right in shepherd garb 
with a staff. At her left Eleazar, kneeling. Back of her two 
women, at their right a flock of sheep. In the background a 
forest, at the left prospect into open seascape. 

“This same scene is rendered in a drawing in the Albertina, 
Vienna (reproduced in Feest-Bundel Bredius aangeboden, Bd. II, 
reprod. 25) the authenticity of which, probably rightfully, has 
been doubted by Hofstede de Groot (eest-Bundel a. a. O I, 5. 
90). In the Albertina drawing the position of Rebecca is similar 
to that of our sheet, in other parts it differs considerably. The 
Vienna drawing is a pupil’s work, corrected by Rembrandt him- 
self in many spots; while the present drawing shows all the 
earmarks of authenticity; it is by the same hand that made the 
corrections on the Vienna drawing. Especially characteristic of 
Rembrandt is the treatment of the trees, corresponding fully with 
the line-work of a drawing in the British Museum (Hofstede de 
Groot 865). Similar drawings are described by Hofstede de 


11 


subject of Rebecca and Eleazar had been given 
by Rembrandt and has been treated by him 


drawing.” Height, 7 inches; 


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LAINVUAWNAY 
UVZVATA AGNV VOOdUddy : 


31 TEMPTATION OF CHRIST 
Pen drawing. An almost identical drawing, somewhat larger, 
from the Collection of Sir Joshua Reynolds was sold for $3000 
at The Anderson Galleries about two years ago. 
The writer saw this drawing in the collection of a well-known 
Florentine connoisseur, and obtained it by exchanging one of his 
own drawings, in order to find out which of the two drawings 1s 
the authentic one. Careful comparison of this drawing with the 
reproduction of the other betrays a somewhat freer flow of line 
in this than in the one previously sold. Otherwise they tally 
almost line by line, with the exception that the other drawing 
shows the two figures on a large platform. It is inconceivable 
that a master like Rembrandt should copy himself line by line, 
even more so that a pupil should have made such a close repeti- 
tion in the studio. 
We offer the drawing here just as it is, and leave it to others to 
decide which of the two is the original. 
From the J. D. Boehm Collection, Vienna, 1794-1865, Lugt 271 
and 1442. Height, 47g inches; width, 51/4 inches 


[SEE ILLUSTRATION | 


32. JACOB TEMPTED BY POTIPHAR’S WIFE . 
Superb drawing in pen and India ink, rich in chiaroscuro. This 
drawing was discovered by the writer in a little print store at 
Florence, It is immaterial to him whether it was done by Rem- 
brandt or Jan Lievens. He thinks that Rembrandt did the pen 
work, and a pupil added the chiaroscuro. 


Height, 71% inches; width, 10 inches 


14 


TEMPTATION OF CHRIST 
REMBRANDT 


[NUMBER 31] 


34 


AART DE GELDER 


SCHOOL OF REMBRANDT, 1645-1727 


THE GOOD SAMARITAN, MANNOAH HIS WIFE, AND 
THE ANGEL 

Spirited pen and sepia wash drawing, typical of the Rembrandt 
school. 

We know a whole series of drawings of this kind, apparently done 
to illustrate the Bible, and all showing the reference to the Bible 
text in the same handwriting. From the Heseltine-Richter sale, 
Amsterdam, 1918. Height, 8 inches; width, 12% inches 


ROELAND ROGHMAN 


SCHOOL OF REMBRANDT, 1597-1685 


LANDSCAPE 
Hilly foreground with trees to the right; a Cathedral tower in 
the middle distance. Pen and India ink. On the reverse another 
landscape drawing in pen and ink. 

Height, 4 inches; width, 614 inches 


PETER PAUL RUBENS 


1577-1640 


THE THREE GRACES 

Magnificent chiaroscuro drawing in black and white chalks on 
bluish-gray paper. An old signature in ink in lower left corner 
which is possibly authentic. 

This drawing forms a study for the painting in the Vienna 
Academy. While the two heads, as well as the hands and feet, 
show unmistakable traces of an awkward restoration, the centre 
part of the drawing is of such purity and beauty of modelling 
that this is unquestionably an authentic work of prime 
importance. 

Acquired in Berlin upon the advice of Dr. Max J. Friedlaender. 
From the K. E. von Liphart Collection, Lugt 1687, and R. von 
Liphart, Lugt 1758. . Height, 1634 inches; width, 105% inches 


[SEE ILLUSTRATION | 


16 


THE THREE GRACES 
PETER PAUL RUB 


ENS 


[NUMBER 35_| 


ATTRIBUTED TO PETER PAUL RUBENS 


1577-1640 


36 ACADEMIC STUDY OF AN ATHLETE 

Pen drawing from the Collections of Sir Thomas Lawrence and 
Robert Priolo Roupell (Fagan, 451), on the mount a note 
(initialled by R. P. R.): “One of the selected drawings by Rubens 
exhibited by Messrs. Woodburn in 1835, No. 55 in the Lawrence 
catalogue.” The study of the figure of a man, anatomically 
treated. A capital drawing. The old attribution is here re- 
tained, not having another more definite to offer. This drawing, 
however, once came into the hands of the writer attributed to 
Michelangelo. European authorities to whom it was submitted 
prefer to place it in the school of Michelangelo rather than 
Rubens, although early academic drawings by the latter of 
similar penmanship are known. The writer considers the drawing 
earlier than Rubens, and Italian, pointing probably to Baccio 
Bandinelli, Michelangelo’s pupil and rival. But it is better than 
the Bandinelli drawings known to him. 

Height, 1134 inches; width, 634 inches 
From the Collection of a New York Gentleman, sold at The 
Anderson Galleries, February 1921. 


SCHOOL OF RUBENS 


37 DRAWING IN BLACK AND RED CHALKS 
Two angels appearing to an assemblage of nobles and clergy. A 
beautiful drawing. From the R. Peltzer Collection. 
Height, 836 inches; width, 1214 mches 


ANTON TER HIMPEL 


DUTCH SCHOOL, 17TH CENTURY 


388 LANDSCAPE 
With houses by a brook; in the foreground an angler. Clever 
charcoal and India ink drawing. 


Height, 74/4 inches; width, 12 inches 


18 


CORNELIS 'TROOST 


FAMOUS DUTCH ARTIST, 1697-1750 


39 PORTRAIT BUST OF J. CAMPO-WEYERMAN (1677-1745) 


40 


41 


Painter and pamphleteer, surrounded by five cupids and little 
satyrs. 

Signed: ‘Troost iv et fec.” in lower right. Clever sanguine 
drawing from the Pinto and Habich Collections. Engraved. 


Height, 7 inches; width, 58, inches 


JACOB VAN DER ULFT 


1629-1688 
ITALIAN CITY 


With antique buildings, statues, and many people. Beautiful 
sepia drawing. Height, 6 inches; width, 8 inches 


VALLERANT VAILLANT 


1625-1677 


LARGE PASTEL PORTRAIT HEAD OF A YOUNG MAN 
Very finely executed. Many pastel portraits by Vaillant in this 
identical style are known. 

Height, 16 inches; width, 1214 inches 


HENDRIK VAN AVERKAMP 


Apout 1585-1663 


GROUP OF THREE MEN ON THE ICE 
To the left a dog. Pen drawing, exquisitely heightened in water 
color. A typical representative of the more spirited work of 
the artist’s best period, showing little of the mannerism ex- 
hibited in his later drawings. 

Height, 434 inches; width 384 inches 
From the Grahl Collection, and the Collection of a New York 


Gentleman, sold at The Anderson Galleries, February 1921. 


19 


44, 


46 


ABRAHAM VAN DIEPENBECK 


1599-1675 


PORTRAIT HEAD OF MICHAEL. OPHOVIUS, BISHOP OF 
BOIS LE DUC | 
Beautiful drawing in pen, India ink and black and red chalks. 
Signed A Diepenbeck in lower right. 
This is undoubtedly the same head as on Rubens’ portrait in The 
Hague. Dhiepenbeck belonged to the close followers of Rubens. 
Height, TV imches; width, 614 inches 
(a) AANEAS AND DIDO 
Decorative drawing in rich composition. Sanguine. 
Height, 614 wmches; width, 9 inches 
(b) MYTHOLOGICAL COMPOSITION 
Of the same quality as the preceding drawing. Sanguine. 
Height, 644 inches; width, 834 inches 
(c) ANOTHER SCENE FROM THE SAME SERIES 
Sanguine, heightened with white. (8) 
Height, 6 inches; width, 1114 inches 


BARTHOLOMEUS VAN DER HELST 


1611-1670 


HEAD OF A YOUNG WOMAN 
Exquisite little drawing in black and red crayons, on gray paper. 
Signed “Van der Helst” on verso. 


Height, 584 inches; width, 44% inches 


THE BROTHERS ADRIAN AND FRANZ: HALS 

A magnificent charcoal drawing on greenish-gray paper. 

This drawing came into my possession under the above title and 
attribution. Dr. Friedlaender of the Berlin Museum, comment- 
ing on the remarkable breadth and power of the design, said that 
it seemed more likely to him that Franz Hals, himself, was the 
artist. Height, 10 inches; width, 7° mches 


20 


47 


48 


ANTHONY VAN DYCK 


1599-1641 


APOLLO DRAWING HIS BOW 
Beautiful and characteristic charcoal drawing on gray paper. 
Height, 74% mches; width, 934 inches 


CHRIST CAPTURED ON THE MOUNT OF OLIVES (THE 
KISS OF JUDAS) 

Pen and charcoal. This drawing bears on the reverse in pen an 
old attribution to Ventura Salimbeni. It was purchased by me 
from Charles A. de Burlet, Berlin, who stated that the present 
attribution was made by Prof. Bode, who stated that the picture 
in which Van Dyck used this composition is known to him. A 
powerful and dramatic sketch. 


Height, 8 inches; width, 11 inches 


WILLEM VAN DE VELDE 


FAMOUS DUTCH MARINE PAINTER, 17TH CENTURY 


49 A SAILING VESSEL, SEEN FROM THE FRONT 


50 


Brilliant pen and India ink drawing. 
Height, 734 mches; width, 5 imches 


JAN VAN HUYSUM 


1682-1749 


ITALIAN LANDSCAPE, WITH FIGURES 
Sanguine drawing, signed in lower right. 
Height, 614 inches; width, 1144 inches 


21 


51 


54 


55 


ADRIAN VAN OSTADE 
1610-1685 


A WOMAN ASLEEP 3 
Seated on a chair, with a little boy, also asleep, bent over her 
knees. Signed “A. v. Ostade” in lower right. 
Superb water color of miniature-like fineness. 

Height, 388 inches; width, 214 mches 
From the Hibberts and Esdaile Collections, and from the Collec- 
tion of a New York Gentleman, sold at The Anderson Galleries, 
February 1921. 


OLD WOMAN 
Combing the hair of a little boy. Companion to the preceding 
piece; in the same manner and from the same collections. An 
exquisite pair of drawings, brilliant representatives of the minute 
technique of the Master. Signed. 

Height, 33 inches; width, 214 inches 


SKATING PEASANT PUSHING A SLEIGH 
Superb pen and sepia drawing. Framed. 

Height, 1% inches; width, 334 inches 
From the Gigoux and Lanna Collections. 


PEASANT, SEATED, DRINKING 
Pen and India ink drawing in Ostade’s typical style. 

Height, 3% inches; width, 114 inches 
From the Dr. Goldstein Collection. 


JACOB VAN RUYSDAEL 


1630-1682 


BARNYARD 
To the right, a woman washing; to the left, four pigs. Pencil 
drawing, touched with India ink, in the peculiar and character- 
istic flow of line of the master. 

Height, 314 inches; width, 7 inches 
From the Collection of a New York Gentleman, sold at The 
Anderson Galleries, February 1921. 


22 


56 


57 


58 


a9 


HENDRICK VERSCHURING 


1627-1690 
TWO HORSEMEN, DRINKING BY AN INN 


India ink wash, with white high-hghts on blue paper. 


Height, 634 mches; width, 8 inches 


THOMAS WYCK 


DUTCH SCHOOL, 1616-1686 


MAN WITH TWO HORSES 
In conversation with a couple. Brillant little India ink drawing. 
Height, 4144 inches; width, 334 inches 


JAN WYNANTS 


1615-1679 


TWO MEN IN LANDSCAPE 
A typical Wynants drawing, pen and India ink. 

Height, 334 inches; width, 3 inches 
From the Robinson and Dr. Goldstein Collections. 


LAMBERT ZUTMAN, CALLED SUAVIUS 


1510-1567 


PROCESSION OF MANY PEOPLE 
Supposed to be a study for the artist’s engraving: Sts. Peter 
and Paul healing the sick. Pencil drawing. 

Height, 1214 inches; width, 8 inches 


From the Earl of Pembroke Collection. 


23 


ITALIAN SCHOOLS 


NUMBERS 60-98 


CHRISTOFANO ALLORI (SOMETIMES CALLED BRONZINO) 


60 SHEET WITH STUDIES OF HANDS AND PART OF A 
HUMAN FIGURE 
Black, red and white chalks on gray paper. On the reverse a 
sanguine study of a hand. A beautiful drawing. 
Height, 1014 inches; width, 8 inches 


ATTRIBUTED TO PAOLO CAGLIARI, 


CALLED PAOLO VERONESE 


61 TWO ANGELS 
Interesting chiaroscuro drawing in black and white chalks on 
green paper. Height, 8 inches; width, 12 inches 


ATTRIBUTED TO DOMENICO CAMPAGNOLA 


1484-1556 


62 WIDE MOUNTAINOUS LANDSCAPE 
With classical ruins and statues. Like most of the drawings 
with the above attribution, this drawing was also attributed to 
Titian. Although it has all the earmarks of Campagnola’s style, 
his composition and typical flow of line, I am not fully con- 
vinced of his authorship. In certain spots it lacks his peculiar 
precision of line and resembles more the style of Titian. I am 
inclined to believe that Agostino Caracci made this drawing. I 
have seen numerous drawings of his which bear strong resem- 
blance to the manner of Domenico Campagnola. <A beautiful 
Itahan drawing. Height, 8 inches; width, 11 inches 


24 


63 


64 


66 


67 


68 


JACOPO CHIMENTI, CALLED JACOPO DA EMPOLI 


FLORENCE, 1554-1640 


A SAINT 
The head repeated on the same sheet. Beautiful charcoal 
drawing. Height, 6° inches; width, 934 inches 


FIGURE OF A MONK 
The hand repeated, and another study of a foot on the same 
sheet. On the reverse, studies of arm and hand. Black and 
white crayons on gray paper. 

Height, 81% inches; width, 1014 inches 


PIETRO BERRETINI DA CORTONA 


1596-1669 
HEAD OF A YOUNG WOMAN 


Lovely drawing in black and red chalks. 
Height, 54% inches; width, 514 inches 


CAVALIERE GIUSEPPE D’ARPINO 


ITALIAN, 16TH CENTURY 


HEAD OF A HORSE 
In black and red chalk. Height, 4% inches; width, 41% inches 
From the Charles Huard Collection. 


GALLO DA BIBBIENA 


FAMOUS FAMILY OF PAINTERS, ARCHITECTS AND DECORATORS 
OF THE I8TH CENTURY 


GALLERY IN A BAROQUE PALACE 
Characteristic pen and India ink drawing. In a rich, hand- 
carved frame. Height, 8 inches; width, 51% inches 


COURTYARD COLONNADE OF A BAROQUE PALACE 
Pen and India ink. Framed. 
Height, 6 inches; width, 4 inches 


25 


ITALIAN SCHOOL 7 


16TH CENTURY 


69 HOLY FAMILY 
Pen drawing. Exceedingly brilliant little sketch, suggesting the 
hand of a great Master, possibly Raphael. ; 
Height, 314 inches; width, 24/4 imches 


70 NATIVITY 


Exquisite little pen and sepia drawing, suggesting a Master, 
possibly Correggio. Height, 31% inches; width, 334 inches 


ITALIAN SCHOOL 


17TH CENTURY 


71 TWO PORTRAITS OF MONKS ON ONE MOUNT 
Size, 5 x 314 inches; 314 x 358 mches 


ITALIAN SCHOOL (POSSIBLY DOMENICHINO) 


17TH CENTURY 
72 HEAD OF A YOUTH 


Decorative drawing in black and red crayons on gray paper. 


Height, 1334 inches; width, 936 inches 


ITALIAN SCHOOL 


16TH CENTURY 


73 ALLEGORICAL COMPOSITION 
Pen and India ink. In lower left an inscription reading: “Le 
conclusione filosofiche d’Alderano Cybo hora(?) Cardinale.” 


Height, 8 inches; width, 34% inches 
26 


76 


7 


ITALIAN SCHOOL 


LATE 16TH OR EARLY 17TH CENTURY 


HEAD OF A BOY (BACCHUS?) 
Decorative Italian drawing in red and black crayons. 
Height, 9 inches; width, 624 inches 


From the Nathanael Hone and Dr. Goldstein Collections. 


UNIDENTIFIED ITALIAN DRAWINGS 


(a) SANGUINE HEAD 
16th Century. 


(b) EXECUTION OF A SAINT 

Black chalk, Venetian, late 17th Century. 

(c) HEAD OF A YOUNG MAN 

Black chalk, bistre and white high-lights. Venetian. 


(d) NUDE MAN, SEATED 
Black crayon. Venetian, 17th or 18th Century. (4) 


ITALIAN SCHOOL 


16TH CENTURY 


HOLY DISPUTA 

Very fine pen and India ink composition, similar to the famous 
ones by Diirer and Raphael. Rounded on top and somewhat 
damaged. Framed. ‘The draughtsmanship suggests the style of 
Paolo Veronese. Height, 74% wmches; width, 8 inches 


ITALIAN SCHOOL, MANNER OF ZUCCARO 


16TH CENTURY 


MINERVA GIVING ADVICE TO A KING 

Pen and sepia drawing in rich architectural border. In a fine 
old frame. Height, 1144 inches; width, 5 inches 
Decorative drawing from the Hamilton Easter Field Collection. 


27 


SCHOOL OF LEONARDO DA VINCI 


LOMBARD, EARLY I61TH CENTURY 


78 NUDE MAN 


80 


Pen drawing. This beautiful little drawing came into my hands 
attributed to Lionardo. Not being positive about the proud at- 
tribution I prefer to give it to his school. 

Height, 4 inches; width, 158 inches 


LOMBARD SCHOOL 


SECOND HALF OF 15TH CENTURY 


ALTAR COMPOSITION 

Semi-circular triptych, showing superb architectural frame in 
Renaissance style. In the centre the allegory of Philosophy with 
the Holy Trinity in Glory above, at both sides kneeling saints. 
Latin inscriptions on the architectural border. Chiaroscuro 
drawing in pen, sepia and white high-lights, of the greatest 
beauty. Italian 15th century drawings of such quality are of 
the greatest rarity. This is undoubtedly one of the finest early 
drawings in this country. Height, 6144 inches; width, 11 wmches 
From the Collection of a New York Gentleman, sold at The 
Anderson Galleries, February 1921 


CARLO MARATTA 


1625-17138 


PAIR OF DRAWINGS 
(a) The Virgin and Child, on Clouds. Sanguine. 
Height, 424 ches; width, 444 mches 
(b) Sanguine studies of three heads. 
(2) Height, 334 inches; width, 4 inches 


28 


81 


82 


83 


84 


DONATO MASCAGNI 


1579-1636 


THE JUDGMENT OF SOLOMON 
Brilliant pen sketch. Framed. 
Height, 354 inches; width, 33/4, inches 


FRANCESCO MAZZUOLA, CALLED IL PARMIGIANO 


1504-1540 


FULL-LENGTH FIGURE OF A NUDE YOUNG MAN (ST. 
SEBASTIAN ?) 
Pen and India ink drawing on greenish-gray paper. 

Height, 814, inches; width, 8 inches 
From the F. Abbot Collection. 


ATTRIBUTED TO PIERFRANCESCO MOLA 


1612-1668 


COMPOSITION WITH MANY FIGURES 
Pen and sepia. Framed. Height, 4 inches; width, 51/, inches 


SCHOOL OF RAPHAEL 


ITALIAN, 16TH CENTURY 


(a) FLORA, STANDING IN A NICHE 
Pen and sepia. Possibly by Giulio Romano. 
Height, 8 inches; width, 4 inches 

(b) MADONNA, CHILD AND ST. JOHN 
Pen drawing, probably after Raphael. 

Height, 91/4 inches; width, 7 inches 
(c) ANGELS ON CLOUDS 
Attributed to Raffaelino delle Colle. 
(3) Height, 6 inches; width, 5 inches 


29 


85 


86 


88 


89 


TWO GODDESSES 
Pen and sepia wash. Beautiful drawing. 


Height, 834 inches; width, 7 inches 


SLAUGHTER OF THE INNOCENTS, AFTER RAPHAEL 
Chiaroscuro drawing in pen and bistre, with white high-lights. 

Height, 11 inches; width, 17 inches 
From the Earl of Pembroke Collection. 


GUIDO RENI 


THE VIRGIN ON CLOUDS, APPEARING TO THREE 
SAINTS 

Magnificent composition of superb dash; the figures seem so 
placed as to follow the swing of one curved line. 

Chiaroscuro drawing in black and white crayons on gray paper. 


Height, 1324, inches; width, 101% inches 


SALVATOR ROSA 


1615-1675 


SIX CHARCOAL STUDIES 
Of seated or prostrate figures, on one sheet. 
Height, 734 inches; width, 111, inches 


GIOVANNI BATTISTA TIEPOLO 


VENICE, 1696-1770 


FULL-LENGTH FIGURE OF A MAN (SAINT) 

Highly characteristic and beautiful drawing in pen and sepia 
wash, acquired upon the advice of Dr. M. J. Friedlaender of the 
Berlin Museum. Height, 8 inches; width, 5% wmcehes 


[SEE ILLUSTRATION | 


30 


GIOVANNI BATTISTA TIEPOLO 


[NUMBER 809 | 


90 


oI 


92 


93 


ATTRIBUTED TO SODOMA 


NUDE FIGURE OF A SAINT 

In chiaroscuro, white high-lights on brown paper. ‘This was per- 
haps once a very fine drawing, suggesting to me the manner of 
Filipino Lippi. It seems to have turned very faint and the 
high-lights seem to me retouched at a later period. 


Height, 8 inches; width, 4 wmches 


UMBRIAN SCHOOL 


LATE 15TH CENTURY 


A PROPHET OR SAINT, IN FULL FIGURE 
Pen and sepia wash drawing. This drawing came into my hands 
attributed to Franz von Bocholt (German School, 15th Cen- 
tury). I see, however, no German influence in the drawing. ‘The 
above attribution is confirmed by good authority. 


Height, 18 inches; width, 51% inches 


UNKNOWN 


17TH CENTURY? 


A SHEET WITH FOUR SANGUINE SKETCHES OF 
HEADS AND THREE HANDS 

On the reverse another sanguine drawing of a full-length figure. 
Powerful drawings of superb flow of line, undoubtedly by the 
hand of a Master, whom, however, I have not been able to 
identify. Height, 734 inches; width, 1134 inches 


UNKNOWN 


THREE WOMEN IN CONVERSATION 
Clever pen and India ink sketch. Framed. 
Height, 414 inches; width, 5 inches 


o2 


ITALIAN—UNKNOWN 


LATE 18TH OR EARLY 19TH CENTURY 


94 PAIR OF WATER COLOR VIEWS 
(a) Lake of Albano. Framed. 
(b) Temple of Apollo, near Baiae. Framed. 
(2) Height of each, 34 inches; width, 414 inches 


ANDREA VACCARO 


NAPLES, 1598-1670 


95 FIGURE OF A MAN, AND THREE STUDIES OF HANDS 


One in red crayon, the others in black. 


Height, 8% inches; width, 84% inches 


ATTRIBUTED TO DOMENICO ZAMPIERI 


CALLED IL DOMENICHINO 


1581-1641 


96 A MONK KNEELING IN PRAYER 
Black charcoal, with traces of white high-lights on gray paper. 
Height, 13 inches; width, 10 inches 


TADDEO ZUCCARO 


1529-1560 


97 CHRIST WASHING THE FEET 
Vivid composition in Zucearo’s characteristic style. Pen and 
sepia wash. Height, 14 inches; width, 9 inches 
From the Hamilton Easter Field Collection. 


30 


98 


ot 


100 


101 


SPANISH SCHOOL 


17TH CENTURY 


THE DESCENT FROM 'THE CROSS 

Powerful drawing in pen and sepia. It has not been possible to 
fix a definite attribution for this fine drawing. Some experts 
call it Italian, suggestive of Tintoretto or his School, some call 
it Spanish. To me it has always suggested the character of El 
Greco. Height, 8 inches; width, 74% inches 


FRENCH SCHOOL . 


167rH-18TH CENTURY 


NUMBERS 99-128 


GABRIEL BALLIN 


FRENCH, 18TH CENTURY 


CASCADE AND MILL OF THE CHATEAU DE TENCIN 
Near Grenoble. Red and black crayons. Framed. 
Height, 5 inches; width, 73/4, inches 


CONVENT OF THE CAPUCINES 
At Vedesvato, Corsica. Dated 1772. Black crayon. Framed. 
Height, 414 inches; width, 714, inches 


VIEW OF A FORTIFIED TOWN (CORSICA) 
Black crayon. Oval. Framed. 
Height, 4144 inches; width, 6 inches 


PORTRAIT OF A YOUNG GIRL 
Black crayon. Circular. Framed. Diameter, 4 inches 


34 


Fos gS : 
Sess etter nti ctncee nn HANK epoecrmn eet 


FRANCOIS BOUCHER 
[NUMBER 104 | 


FRANCOIS BOUCHER 


1704-1770 


1038 .THREE CUPIDS WITH DOVES, CARESSING, ON 


104 


CLOUDS 
Authentic decorative sketch by the Master’s own hand. Char- 
coal, heightened with white, on bluish-gray paper. 

Height, 10 inches; width, 12 mches 


THREE AMORINI WITH MUSICAL INSTRUMENTS 
One extending a wreath of laurel. Companion piece to the pre- 
ceding, in the same characteristic and brilliant style. 
Acknowledged to be authentic Boucher drawings by many high 
experts to whom they were submitted. An important pair of 
drawings. Height, 10 inches; width, 12 inches 


35 


105 


106 


107 


108 


DIANA AND ENDYMION 
The Goddess, surrounded by cupids, floating on clouds, toward 
the sleeping shepherd. Oval, black chalk with white high-lights 
on bluish-gray paper. Signed in centre below, “F. Boucher.” 
Beautiful and highly characteristic drawing. 

Height, 1114 inches; width, 15 inches 
From the Collection of J. B. de Graaf, Amsterdam, 1820, and 
from the Collection of a New York Gentleman, sold at The 
Anderson Galleries, February 1921. 


SCHOOL OF BOUCHER 


FRENCH, 18TH CENTURY 


RECLINING FIGURE OF A NUDE WOMAN 
Beautiful drawing in black and red crayon. This drawing came 
into my possession attributed to Boucher. In a valuable hand- 
carved frame of the period. 

Height, 12 inches; width, 17 inches 


ATTRIBUTED TO FRANCOIS BOUCHER 


1704-1770 


NUDE MAN (RIVER-GOD) 

Spirited drawing in black and red crayons. This drawing has 
also been attributed to Luca Giordano. The above attribution, 
however, seems more plausible to the writer, who has seen various 
Boucher drawings in the same character ; according to his recol- 
lection the figure is that of a river-god in one of Boucher’s 
paintings. Height, 10 inches; width, 1344 inches 


SCHOOL OF BOUCHER 


FRENCH, 18TH CENTURY 


JOSEPH TEMPTED BY POTIPHAR’S WIFE 
Black chalk on gray paper, the white high-lights only faintly 
visible. A dramatic and vivid quick sketch. 


Height, 13 inches; width, 10 inches 
36 


STEFANO DELLA BELLA 


1610-1664 


109 PEN STUDIES OF TWO GALLEYS OF STATE 
Exquisitely minute drawing in the fine manner of Callot’s clever 
companion. Height, 23 inches; width, 514 wches 


JACQUES CALLOT 


1592-1635 


110 SIEGE OF A TOWN BY THE SEA 
Pen and bistre drawing. Callot drawings with many figures are 
excessively rare. Height, 5 inches; width, 7 inches 
From the Paul Sandby Collection, Lugt 2112. 


FRANCOIS CLOUET, OR HIS SCHOOL 


FRENCH, 16TH orn EARLY 17TH CENTURY 


111 PORTRAIT OF A GENTLEMAN 

In the lower right an old inscription in ink: ‘‘Monsr. Le Comte 

de Maure” (the last word not clearly decipherable). Delicate 

drawing in black and red crayon, from a series of portraits of 

Clouet and his School, formerly in the Collection of the late 

Charles Wickert, Paris, brought over by Mr. Hodgkins and 

exhibited by him at the Boston and Brooklyn Museums. 
Height, 11 inches; width, 7 inches 


SCHOOL OF CLOUET 


FRENCH, 16TH OR EARLY 17TH CENTURY 


112 HEAD OF A MAN 
From the same collection as the preceeding piece; the corners cut 
off. Black and red crayons. 
Height, 834, inches; width, 614 inches 


37 


JACQUES LOUIS DAVID 


1748-1825 


1138 SHEET WITH FIVE PEN AND TWO SANGUINE 
STUDIES FOR CLASSICAL SUBJECT 
Interesting and characteristic Empire style drawing. 
Height, 632 ches; width, 914, inches 


ATTRIBUTED TO PIERRE CLAUDE FRANCOIS DELORME 


1785-1859 


114 VENUS AND CUPID AT PLAY 
With a dog and doves. Decorative French water color drawing. 
Height, 744 inches; width, 814 inches 
From the Newman Collection. 


GASPARD DUGHET, COMMONLY CALLED 


GASPARD POUSSIN 


ROME, 1613-1675 


115 CLASSICAL LANDSCAPE 
With seven people in the foreground by the border of a lake. 
Beautiful pen and sepia drawing in Gaspard Poussin’s character- 
istic style. Height, 5 inches; width, 10 inches 


DUGOURC 


1749-1810 


116 SCENE FROM THE LIFE OF ST. LOUIS 
Very fine small pen and India ink drawing. 
Height, 314 inches; width, 434 inches 
From the Charles Huard Collection. 


38 


117% 


118 


119 


FREMINET 


FRENCH ARTIST OF THE LATE 16TH CENTURY, FOLLOWER OF 
PRIMATICCIO IN THE SCHOOL OF FONTAINEBLEAU 


ECCE HOMO 
Large composition with many figures. Signed “F'reminet” in the 
lower left. Beautiful pen and sepia drawing, strongly showing 
the influence of Primaticcio. 

Height, 1034 inches; width, 15 inches 
From the J. Desprez Collection. 


CHRIST BEFORE PILATE 
Rich composition by the same hand and in the same medium 
as the preceding piece; unsigned. 

Height, 1614 inches; width, 1134 inches 
From the Count Gelozzi Collection. 


FRENCH SCHOOL 


18TH CENTURY 


WANDERER, OLD MAN, SEATED, RESTING 
Decorative drawing in black and red chalk. 

Height, 121% inches; width, 8 inches 
From the Charles Huard Collection. 


CLAUDE GELLEE (CALLED CLAUDE LORRAIN) 


1600-1682 


CLASSICAL LANDSCAPE 
With three figures in the foreground. Pen and sepia, with white 
high-lights and touches of water color. Beautiful and highly 
characteristic drawing, backed and considerably restored. On 
the mount the collector’s mark, Robert Low, Lugt 2222. 
Height, 634 inches; width, 91 mches 
From the Collection of a New York Gentleman, sold at The 
Anderson Galleries, February 1921. 


39 


ATTRIBUTED TO CLAUDE LORRAIN 


121 ITALIAN HOUSE, HALF RUINED, BY A PRECIPICE 
(TIVOLI?) 
Strong pen and sepia drawing, but the attribution does not seem 
quite convincing. It is undoubtedly the work of a French or 
Flemish artist done in Italy in the 17th Century. 
Height, 10 inches; width, 1414 inches 


CHARLES PARROCEL 


FRENCH SCHOOL, 1688-1752 


122 SHEET WITH VARIOUS STUDIES OF FIGHTING 
MEN 
Very vivid sanguine drawings. 
Height, 714 inches; width, 81% inches above, and 
10 inches at bottom 


ATTRIBUTED TO HUBERT ROBERT 


1733-1808 
123) ROMAN BUILDINGS WITH FIGURES 


Decorative gouache drawing, beautiful in perspective. 
Height, 1114 inches; width, 87g inches 


GABRIEL DE ST. AUBIN 


1724-1780 


124 CHARCOAL STUDY OF AN ACTOR OR WRITER 
| Full length, standing, leaning on a pedestal. Brilliant 18th Cen- 
tury French drawing. Height, 14 inches; width, 9 inches 
From the Charles Huard Collection, where it was catalogued 
under the above attribution. 


40 


125 SHEET WITH THREE PEN STUDIES OF LEDA AND 
THE SWAN 
Brilliant sketches. Height, 8 inches; width, 12 inches 
From the Charles Huard Collection. 


ATTRIBUTED TO CHARLES VANLOO 


FRENCH SCHOOL, 18TH CENTURY 


126 YOUTH OR SAINT, ASLEEP, SEATED 
Strong India ink and sanguine drawing. 
Height, 12 inches; width, 81 imches 
From the Peoli and Dr. Goldstein Collections. 


UNKNOWN ARTIST 


FRENCH SCHOOL, 18TH CENTURY 


127 SANGUINE SKETCH FROM THE CEILING OF THE 
SISTINE CHAPEL 
A powerful sketch, suggesting the early sanguine drawings of 
Fragonard during his stay in Italy. 
In the lower left an inscription, only partly decipherable: “adi 
Agastro (_) dis. Roma, M.A.B.Capella Sistina.” 'The first word 
seems to mean anno domini and the first two letters of the name 
could possibly represent a date. 

Height, 9 inches; width, 1414 inches 


UNKNOWN 


FRENCH SCHOOL, 18TH CENTURY 


128 GODDESS SURROUNDED BY CUPIDS 
Lovely 18th Century India ink drawing. Framed. 
Height, 414 inches; width, 3V% inches 


41 


129 


131 


132 


133 


ENGLISH AND AMERICAN SCHOOLS 


NUMBERS 129-147 


FRANCESCO BARTOLOZZI 


PORTRAIT HEAD AFTER HOLBEIN 
Design for one of the engravings after Holbein drawings, in three 
crayons. Height, 914 inches; width, 734 inches 


MANNER OF BARTOLOZZI 


ENGLISH SCHOOL, 18TH CENTURY 


GIRL, WRITING; BOY SEATED 
Pair of drawings in silver-point on gray paper. (2) 
Height, 684 mches; width, 424 inches 


SAMUEL DE WILDE 


1747-18382 


WATER COLOR PORTRAIT OF J. P. HARTLEY, THE 
ACTOR 

Signed and dated 1817. Height, 8 inches; width, 6 inches 
From the Halsey Collection. 


WATER COLOR PORTRAIT OF J. P. HARTLEY 
Full length, in a Dickens part. 

Height, 1234 inches; width, 914 inches 
From the Halsey Collection. 


LISTON AS MOLL HAGGON, LORD OF THE MANOR 
Water color, full length. Height, 15 inches; width, 91% imches 
From the Halsey Collection. 


42 


134 


135 


136 


137 


138 


139 


ENGLISH SCHOOL 


18TH CENTURY 
BUST PORTRAIT OF A YOUNG MAN 


The head exquisitely finished in miniature painting. 


Height, 41% inches; width, 31% inches 


ENGLISH SCHOOL 


EARLY 1OTH CENTURY 


PORTRAIT STUDY OF A YOUNG GIRL 
Suggestive of the hand of Sir Thomas Lawrence or one of his 
close followers (Winterhalter?). <A lovely drawing. 

Height, 7 ches, width, 514 inches 


WILLIAM MULREADY 


1786-1868 
HEAD OF A CHILD 


Exquisite little watercolor drawing. 
Height, 2% imches; width, 23@ inches 


THOMAS ROWLANDSON 


OLD COUPLE QUARRELLING 
Characteristic caricature in pen and India ink. 
Height, 424 inches; width, 31% inches 


C. KIRKPATRICK SHARPE 


ENGLISH SCHOOL, 18TH CENTURY 


FULL-LENGTH FIGURE OF A NOBLEMAN 
Pen and pencil, the head finished in the miniature style of 
Richard Cosway. Height, 9 inches; width, 7 inches 


FULL-LENGTH PORTRAIT DRAWING 
In the same manner as the preceding piece. 
Height, 9 inches; width, 714 inches 


43 


140 


141 


143 


144 


SAMUEL SHELLEY 


FAMOUS ENGLISH MINIATURE PAINTER OF THE ISTH CENTURY 


ONE OF THE FIRST MEMBERS OF THE NATIONAL ACADEMY 


MARCELLA 
Woman with sheep in a dense forest. Exquisite pen and water 
color drawing. Signed on the old mount. Framed. 

Height, 23 inches; width, 31% inches 


THE HOLY FAMILY 
Pen and water color, after an Italian painting. Lovely as the 
preceding piece. Framed. | 

Height, 4 inches; width, 314 inches 


YOUNG LOVERS 
Charming pen and India ink drawing. Framed. 


Height, 5 inches; width, 4 inches 


MINIATURE LANDSCAPE, WITH MAN AND HORSE 


Pen and water color. Framed. 
Height, 21% inches; width, 414, inches 


JAMES WARD 


1769-1859 


MRS. WALLACE, A STUDY FROM NATURE 

The title written in ink on the reverse of the drawing. Beautiful 
charcoal sketch of an old lady, seated by a table with books, on 
greenish paper, with white high-lights added. Signed "Jose 
in lower left. Height, 91% inches; width, 7 inches 
From the Collection of Dr. M. A. Goldstein. 


44 


145 


146 


1464 


147 


148 


ATTRIBUTED TO FRANCIS WHEATLEY 


1747-1801 


PEASANT GIRL, GOING TO MARKET 

Richly colored gouache painting on Vellum. <A decorative draw- 

ing, only the little donkey has a somewhat swollen head. Framed. 
Height, 14 inches; width, 1114 inches 


BENJAMIN WEST 


1738-1820 


CUPID STRINGING HIS BOW 
Very clever pen and India ink drawing, on an old mount showing 
on the reverse title and signature in West’s autograph. 

Height, 814 inches; width, 614 inches 


THE DEATH OF CICERO 
Pen drawing on slate-gray ground. ‘Title and autograph signa- 
ture on the reverse of the old mount. Very fine. 

Height, 125% inches; width, 9 inches 


RICHARD WESTALL 


1765-1836 


MYTHOLOGICAL SCENE 
Chiaroscuro drawing in sepia, India ink and white high-lights. 
Height, 4 inches; width, 43/, inches 


19TH CENTURY DRAWINGS 


NUMBERS 148-162 


ROSA BONHEUR 


HUNTING SCENE 

Spirited pencil drawing, signed with the sale-stamp “Rosa B—”. 
Height, 5 inches; width, 714 inches 

From the Dr. Goldstein Collection. 


4.5 


149 SHEET WITH SIX SKETCHES OF LIONS 
Very clever pencil drawings. — Height, 6 inches; width, 10 inches 
From the Dr. Goldstein Collection. | 


150 SHEET WITH FIVE CHARCOAL SKETCHES OF DOGS 


The sale-stamp “Rosa Bonheur” in the lower right. 
Height, 9 inches; width, 101% inches 


PIETRO CAMMACORSI 


ITALIAN ARTIST, LATE 18TH AND EARLY 19TH CENTURY 


151 PORTRAIT OF A STATESMAN 
To the right another pen study of a face. A brilliant pen 
drawing. The old attribution on the mount is here retained. 
Height, 5 inches; width, 384 inches 


ITALIAN SCHOOL 


EARLY 1OTH CENTURY 


152 PORTRAIT OF A MAN 
Pencil drawing. Height, 634 inches; width, 588 inches 


EUGENE DELACROIX 


1798-1863 


153 SHEET WITH TWO ANATOMICAL SKETCHES 
Pen and ink. With the sale-stamp ‘‘E. D.” in the centre. 
Height, 31% inches; width, 9 inches 
From the Charles Huard Collection. 


154 SHEET WITH SIX PENCIL SKETCHES 
With the sale-stamp “FE. D.” in the lower right. 
Height, 7 inches; width, 1114 inches 
From the Charles Huard Collection. 


46 


ATTRIBUTED TO ANSELM FEUERBACH 


1829-1880 


155 PORTRAIT OF A YOUNG MAN 
Black crayon, with delicate white high-lights on brown paper. 
A superb 19th Century drawing. 
Height, 814 inches; width, 6 inches 


JEAN LOUIS GERICAULT 


1791-1824 


156 SIX STUDIES OF OLD MEN 
In one frame. One full length, and five heads; all but one black 
chalk; one sanguine. Very fine drawings; one signed with the 
full name, four initialled ‘‘G’’. Various sizes. 


POLYCLES LANGLOIS 


1834 


157 LANDSCAPE WITH OLD HOUSES AND CATHEDRAL 


Crayon drawing. Framed. Height, 314 inches; width, 5 inches 


ESPERANCE LANGLOIS 


FRENCH, 19TH CENTURY 


158 WOMAN AND CHILD 
Pen and sepia. Signed and dated 1834. Framed. 
Height, 414, inches; width, 3 inches 


47 


ANTOINE MAUVE 


FAMOUS DUTCH PAINTER OF THE 191TH CENTURY 


159 CHARCOAL SKETCH OF A FLOCK OF SHEEP 
Height, 10 inches; width, 131% inches 
This and the three following pieces by the same artist are all 
from the famous Mesdag Collection, and are so marked. 


160 CHARCOAL SKETCH WITH THREE PEASANT 
FIGURES 
Height, 8 inches; width, 104 inches 


161 WOMAN WORKING ON A FARM 
Charcoal sketch. Height, 514 wmches; width, 814 inches 


162 SHEPHERD WITH FLOCK 
On the reverse, a landscape sketch. Charcoal drawings. 
Height, 10 inches; width, 13 inches 


48 


SALE FRIDAY. EVENING, NOVEMBER SEVENTH, AT 8:15 


SECOND SESSION 
NUMBERS 163-323 
DRAWINGS FROM THE COLLECTION 
(Gak 4MeOs, 16M 
FAIRFAX MURRAY 


DUTCH, FRENCH AND OTHER SCHOOLS 


NUMBERS 163-210 


JAN ASSELIJN (CALLED “KRABBETJE”) 


FRIEND OF REMBRANDT, WHO ETCHED HIS PORTRAIT 
AMSTERDAM, 1610-1660 


163 CLASSICAL LANDSCAPE, WITH RUINS OF A ROUND 
TOWER 
India ink wash. Signed in ink at lower right. 
Height, 71 inches; width, 1014 inches 


JAN BOTH 


UTRECHT, 1610-arrEer 1662 


164, ROMAN RUINS 
Pen and sepia wash drawing. Signed in lower left corner. 
Height, 121% inches; width, 121% inches 


BARTHOLOM.EUS BREEMBERGH 


———— 


UTRECHT, 1620-arrEerR 1663 


165 ITALIAN RUINS 
Pen and sepia. Height, 914 inches; width, 81, inches 


JAN BRUEGHEL (CALLED “VELVET-BRUEGHEL”) 


BORN AT BRUSSELS, 1568; DIED AT ANTWERP, 1625 


166 TEAM OF HORSES WITH A WAGON 
Red crayon on green paper. 
Height, 51% inches; width, 121% inches 


49 


167 


168 


169 


170 


PETER BRUEGHEL, THE ELDER 


(CALLED “PEASANT-BRUEGHEL” ) 


BORN AT BREDA, 1530; DIED AT ANTWERP, 1569 


LANDSCAPE 

Group of houses by a canal, in the foreground a lock, man 
angling at the left. Above an inscription: “do Catuyserr van 
de Suytsyden.” Pen and sepia wash. A 16th Century drawing 
of the rarest quality. Height, 514, inches; width, 73 mches 


PAULUS BRIL 


1556-1626 
LANDSCAPE 


Pen and sepia wash drawing. 
Height, 714 inches; width, 1014 inches 


JAN DE BISHOP 


1646-1686 


AN OLD BRIDGE 
In the upper left the inscription: ‘Pons Milvius byd Ponte 
Mol.” Pen and sepia. Height, 33/4, inches; width, 614 inches 


ETIENNE DE LAUNE (DELAULNE, DE LAUNE) 


FRENCH ENGRAVER, 1518-1595 


EWER IN RICHEST ORNAMENTATION 
Superb goldsmith’s design in pen and bistre. ‘This elaborate 
drawing was previously attributed to Diirer, as is shown by the 
apparently forged and partly erased monogram and date 1414. 
While it has much of the minute care of the German Masters of 
the 16th Century, it betrays a certain elegance of style lacking 
there. Etienne de Laune worked much under the influence of the 
German Little Masters and there seems to be no doubt that he 
was the author of this extraordinary design. From the J. C. 
Robinson Collection. 

Height, 11 inches; width, 65 inches 


[SEE ILLUSTRATION | 


50 


ETIENNE DE LAUNE 


[NUMBER 170 | 


173 


174 


175 


GILLIS OR JELIS DE HONDECOETER 


BORN AT ANTWERP 3 DIED AT AMSTERDAM, 1638 


HOUSES AND TREES 

India ink and water color drawing. 

An old signature “G. D. Hondecoutre” in lower left. 

With the collector’s mark of J. van Rijmsdijk, Lugt 2167. 
Height, 614 inches; width, 81, inches 


A DUTCH CASTLE 
Pen and India ink wash drawing. 


Height, 6 inches; width, 11 inches 


JACOB DE WIT 


1695-1754 


THREE CUPIDS 
Lovely drawing in black and red crayons. 
Height, 83 inches; width, 11144 imches 


CHILD OR CUPID, ASLEEP 
Black and red crayons on greenish-gray paper. 
Height, 814 inches; width, 534 inches 


KAREL DU JARDIN 
AMSTERDAM, 1635-1678 
ITALIAN LANDSCAPE 


With mule, cattle and horses in the foreground. Decorative pen 
and India ink drawing. Height, 714 inches; width, 11 inches 


52 


176 


iT 


178 


CORNELIS DUSART 


HAARLEM, 1660-1704 


FAMILY SCENE, INTERIOR WITH TWO ADULTS AND 
THREE CHILDREN 
Lovely red crayon drawing with India ink wash. 

Height, 914 inches; width, 834, inches 
From the Collections of Charles Rogers, Lugt 625, and J. 
Richardson, Jr., Lugt 2170. 


DUTCH SCHOOL 


18TH CENTURY 


WINTER LANDSCAPE 
Decorative water color drawing. In the lower right in pen: “nach 
dem Dorf Oderfing, 1790.” 

Height, 6Yg inches; width, 734 inches 
From the Sir Thomas Lawrence Collection. 


FRENCH SCHOOL 


18TH CENTURY 


LANDSCAPE WITH LARGE TREES 
Decorative sanguine drawing, carefully executed. 
In the lower right a signature which reads like “F. Paris”— 


possibly Fragonard. Height, 163 inches; width, 1334 inches 
53 


Lig 


180 


181 


CLAUDE GELLEE (CALLED CLAUDE LORRAIN) 


1600-1682 

LANDSCAPE WITH A FORD AND CATTLE 

Pen, pencil and India ink wash. This magnificent drawing was 
formerly attributed to Herman Saftleven, note the dates on the 
mount and John Barnard’s note on the reverse. A previous 
owner, probably Mr. Murray, has wisely erased this name from 
the mount. ‘To the writer there is no doubt that this is an ex- 
ceptionally fine original by Claude; he has seen various drawings 
in exactly the same style and medium by Claude, furthermore 
the composition suggests immediately the same hand as that of 
the celebrated etching, ‘Le Bouvier”. This opinion is shared 
by all the connoisseurs to whom the drawing has been submitted. 
A drawing of importance. 


Height, 67g inches; width, 1014, inches 


ROMAN LANDSCAPE WITH THE CUPOLA OF ST. 
PETER IN THE DISTANCE 
Characteristic drawing in sepia and water color. 

Height, 538 inches; width, 714 inches 
From the H. Reveley, Lugt 1356, and Lugt 2084 Collections. 


ATTRIBUTED TO CLAUDE LORRAIN 


LANDSCAPE WITH FIGURES 

Pen and ink. The previous attribution is here retained with 
caution. To the writer it seems more likely that this drawing 
belongs to the Bolognese school of Caracci or Grimaldi, of which 
artists there are very similar drawings in this collection. 


Height, 7 inches; width, 934, inches 


SCHOOL OF CLAUDE LORRAIN (?) 


———— 


LANDSCAPE WITH FIGURES 

Bistre with touches of red crayon. This drawing, which some 
ascribe to’ Claude, others to the School of Poussin, seems to the 
writer rather to be the work of an English artist, possibly 


Richard Wilson. Height, 7 inches; width, 1014 inches 
54 


183 


184 


185 


186 


187 


ATTRIBUTED TO HENDRIK GOLTZIUS 


1558-1617 


A ROMAN EMPEROR—HADRIAN (?) 
Inscription “Adriano” in lower left. Beautiful drawing in pen, 
sepia and water color. Height, 584 inches; width, 484 inches 


THE WEIGHING OF MEN’S SOULS 


St. Michael, standing above Lucifer, holding the scales; to the 


right the Holy Family. Strong pen drawing, with the clear flow 


of line characteristic of Goltzius. 
Height, 18 inches; width, 11 inches 
From the Crozat Collection. 


JORIS HOEFNAGEL 


ANTWERP, 1545-1601 


LANDSCAPE 
Village with high trees, cattle by a pond in the foreground. 
Pen drawing, with white high-lghts on green paper. 

Height, 914 inches; width, 151% inches 
From the Earl Spencer and W. Esdaile Collections. 


C. JONISSEAU 


FRENCH ARTIST, 18TH CENTURY 


ITALIAN RUINS WITH FIGURES 
Decorative pen, India ink and gouache drawing. Signed in lower 
right: “C. Jonisseau fe. 1761.” 

Height, 12% inches; width, 10¥g inches 


ROMAN RUINS, WITH TOMBS AND THE PYRAMID OF 
CESTIUS 
The same medium and decorative quality as the preceging piece. 


in lower right. 


Height, 13 inches; width, 108% inches 
55 


Signed “C. Jonisseau fee.’ 


188 


189 


190 


191 


ATTRIBUTED TO HANS LAUTENSACK (?) 


LANDSCAPE WITH LARGE TREE IN THE 
FOREGROUND 

Charcoal with white high-lights on green paper. This beautiful 
drawing shows the above attribution on the mount in the late 
Mr. Murray’s handwriting. The writer knows only German 
artists of the 16th century by that name, and this seems to him 
to be undoubtedly the work of the Dutch School of the 17th 
Century. Height, 834 inches; width, 1334 inches 


GASPAR LUYKEN 


DUTCH ENGRAVER, 1670-1710 


INTERIOR OF A WORKSHOP, WITH FIGURES 
Pen and India ink drawing, suggestive of the prints by Abraham 
Bosse. Height, 7 inches; width, 11 inches 


NICOLAS POUSSIN 


1594-1665 


BANQUETTING HALL INVADED BY AN ENEMY 
Composition of many figures, almost cubistic in style. Pen and 
India ink. This drawing, once attributed to Luca Cambiaso, is 
identical in character and mannerism with some drawings now 
in the Morgan Collection and published by the late Mr. Murray 
as the work of Poussin. A brilliant and highly interesting 
drawing. Height, 8 inches; width, 131% inches 
From the Richard Cosway Collection. 


SCHOOL OF REMBRANDT . 


DUTCH, 17TH CENTURY 


OLD COUPLE 
Man standing, holding a candle; woman seated, smoking. On the 
reverse a landscape sketch. Pen, sepia and India ink wash. 
Characteristic work of one of the close followers of Rembrandt, 
with strong chiaroscuro effect. 

Height, 77g inches; width, 914 inches 


56 


193 


194 


195 


196 


HUBERT ROBERT 


1783-1808 


CLASSICAL BUILDINGS 
Water color drawing. Height, 45 inches; width, 63 inches 


HERMAN SAFTLEVEN 


BORN AT ROTTERDAM, 1609; DIED AT UTRECHT, 1685 


WIDE RIVER-LANDSCAPE WITH MANY RUINS 
A large ruined castle in the river fore-ground. Superb drawing 
in charcoal and India ink wash. An old attribution on the mount 
has been retained, although the quality of the drawing suggests 
rather the authorship of Aelbert Cuyp or Van Goyen. In the 
lower left are traces of a monogram which could be taken for 
that of Aart van Everdingen. 

Height, 734, inches; width, 1214 inches 


INTERIOR OF A BARN 
On the reverse, study of a tree. Pen and India ink, heightened 
with touches of water color. 

Height, 514 inches; width, 7° inches 


WIDE LANDSCAPE WITH CANAL AND BOATS 
A town in the distance, left. Pen and India ink wash. 
Height, 734 inches; width, 1214 inches 


LANDSCAPE 
Similar subject to the preceding. Wide perspective; houses and 
trees in the centre. Pen and India ink. 


Height, 314 inches; width, 534 inches 


57 


ROELANDT SAVERY 


BORN AT CoURTRAI, 15763 DIED AT UTRECHT, 1639 


197 LANDSCAPE 
Rocky valley, with town on rocks in the left distance, road with 
rider in the right foregrounod. Pen drawing, the foreground 
heightened in sepia, the distance in India ink wash. In the lower 
left the collector’s mark “P. H.”, Lugt 2084. 
Height, 1134 inches; width, 113% inches 


198 LANDSCAPE 
Rocks and large trees on the right; to the left open prospect, 
with a town in the centre. Pen and sepia wash, heightened with 
water color. Height, 8% inches; width, 1334 inches 


ABRAHAM STORK 


DUTCH MARINE PAINTER, 18TH CENTURY 


199 VIEW OF A SEAPORT 
Buildings and a monument on the left, vessels to the right. 
Beautiful pen and India ink wash drawing. 
Height, 53g inches; width, 714 inches 
From the H. Reveley Collection, Lugt 1356. 


ATTRIBUTED TO CORNELIS TROOST 


AMSTERDAM, 1697-1750 


200 INTERIOR 
With a family of six around a large table. Very charming 
water color drawing. Height, 53 inches; width, 558 inches 


58 


204 


205 


UNKNOWN 


PROBABLY DUTCH, LATE 17TH OR EARLY 18TH CENTURY 


MAN ON HORSEBACK 

Pen drawing, on the reverse in pencil the name, “Martin Kynes- 
man.” As no artist of that name is to be found in the reference 
works available, the writer assumes that this is the name of the 
portraitee. Height, 8 inches; width, 614 inches 


JACOB VAN DER ULFT 


puTCH, 1627-AFTER 1688 


LANDSCAPE WITH ROMAN RUINS 
Suggestive of the Appian Way. Pen and sepia wash. 
Height, 636 inches: width, 8° inches 


LANDSCAPE 
Similar subject to the preceding, with ruins of large Roman 
buildings. Pen and sepia wash. 


Height, 6 inches; width, 9 imches 


LANDSCAPE 
Similar subject to the preceding. To the left the Arch of 
Septimus Severus, and churches; to the right an obelisk. 

Height, 614 inches; width, 81% imches 


LANDSCAPE 
A road between large trees, a city in the distance, travellers in 
the foreground. Beautiful pen and sepia drawing. Signed and 
dated 1685 in the upper right corner. 

Height, 1114 inches; width, 824 inches 


59 


206 


207 


WILLEM VAN DE VELDE 


BORN AT AMSTERDAM, 1633; DIED IN LONDON, 1707 


A NAVAL BATTLE 
Superb pen and India ink wash drawing in the Master’s best 
manner. Height, 81, inches; width, 125% inches 


MARINE SCENE—-TROOPS LANDING FROM A LARGE 

MAN-OF-WAR 

On the reverse technical drawings of ships and autograph notes. 

A marvellous drawing in pen and India ink wash. The light 

effect of the chiaroscuro is that of a painting rather than of a 

drawing. Signed on the reverse with the initials “W. V.V.” 
Height, 614 inches; width, 714, inches 


[SEE ILLUSTRATION | 


60 


WILLEM VAN DE VELDE 


[NUMBER 207 | 


ANTHONY VAN DYCK 


1599-1641 


208 RINALDO AND ARMIDA 
Beautiful pen drawing, with traces of white high-lights on 
greenish-gray paper. On the reverse Mr. Murray’s note: 
“Van Dyck, from the collection of Sir P. Lely and The Bavarian 
Collection.” The writer fails to see the collector’s mark of Lely 
and cannot identify the mark in the upper left corner. 
Height, 9% inches; width, 1314 inches 


HENDRIK VERSCHURING 


putTcH, 1627-1690 


209 TROOP OF REFUGEES FORDING A RIVER 
India ink wash drawing, signed with the monogram “HV” in 
lower left corner. Height, 7 inches; width, 914 inches 


WIGERUS VITRINGA 


putcH, 1657-1721 


210 LIGHTHOUSE BY THE SEA 
Water color drawing; signed in lower left. 
Height, 51/4 inches; width, 734 mches 


ITALIAN SCHOOLS 


15TH AND I6TH CENTURIES 


NUMBERS 211-266 


ANTONIO ALLEGRI (CALLED “CORREGGIO”) 


1494-1534 


211 THE NATIVITY 
Lovely chiaroscuro drawing in sepia and white high-lights, in the 
Master’s characteristic manner. (Torn in the upper right) 
Height, 71/4, inches; width, 614 inches 


62 


212 


213 


214 


215 


FEDERIGO BAROCCI (CALLED “BAROCCIO”) 


1528-1612 


TORSO OF A MAN 
With two studies of legs. Charcoal with white high-lights and 
touches of red. Superb and characteristic drawing. 

| Height, 1634 inches; width, 1014 inches 
From the J. Richardson, Sr., Charles Rogers and Earl of War- 


wick Collections. 


ANATOMICAL STUDIES OF LEGS AND A FOOT 
In the same medium and with the same characteristic qualities as 
the preceding piece, and from the same collections. 

Height, 1614 inches; width, 1034 inches 


SHEET WITH ARMS AND SHOULDERS OF A MAN 
Also studies of hands and knees. Charcoal on blue paper, with 
touches of red and white crayons. 

Height, 10% inches; width, 1614 inches 
From the Earl of Warwick Collection. 


ATTRIBUTED TO FEDERIGO BAROCCIO 


ADORATION OF THE CHILD 

Pen and white high-lights on green paper. <A note on the mount 

states that the drawing was previously in the Horace Walpole 

and A.R.D. Collections, but there are no collectors’ marks. 
Height, 814 inches; width, 714 imches 


PIETRO BUONACCORSI (CALLED “PERINO DEL VAGA”’) 


1500-1547 


216 DESIGN FOR A RENAISSANCE PAVILION 


Pen and bistre. Height, 91% inches; width, 834 inches 


63 


POLIDORO CALDARA 


(CALLED “POLIDORO DA CARAVAGGIO” ) 


1492-1543 


217 FIGURE OF A SYBIL 


Beautiful chiaroscuro drawing in pen, India ink and white high- 
lights on green paper. Signed in lower right: “‘disegno di mano 
di Pulidoro, Roma.” Height, 91/4, inches; width, 51/4, inches 
From the Earl of Warwick Collection. 


JUPITER WITH ALCMENA AND THE INFANT 
HERCULES 
Pen and bistre, on green paper. 

Height, 734 mches; width, 784 imches 


FRIEZE OF ROMAN WARRIORS BEFORE AN EMPEROR 
Characteristic chiaroscuro design in pen, bistre and white high- 


hehts on green paper. Height, 6 inches; width, 201% inches 
s $ Pa} ‘ Y 


LUCCA CAMBIASO (CALLED “LUCHETTO DA GENOVA”) 


1527-1585 


220 CHRIST, BOUND TO A COLUMN 


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2 


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Pen and sepia wash drawing, in Cambiaso’s characteristic style. 
Height, 914 mches; width, 14 inches 
From the J. Richardson Sr. Collection, Lugt 2183 


GODDESS (VENUS) 
Exceedingly brilliant and characteristic pen drawing. Oval; 
cut straight on top. Height, 111% inches; width, 934 inches 


BARTOLOMEO CARDUCCI 


FLORENCE, 1560-1608 


ST. JEROME WITH THE LION 
Beautiful chiaroscuro drawing in pen and bistre with white high- 
lights. Height, 9 inches; width, 414 inches 


64 


223 


224 


2 


2 


25 


26 


AGOSTINO CARACCI 


BOLOGNA, 1557-1602 


THE VIRGIN AND CHILD WITH THE INFANT 
ST. JOHN 
On the reverse a female figure. Signed “Ag. Caracci.” 


Height, 734. inches; width, 514 inches 
’ 74. ee, 


GROUP OF EIGHT FIGURES, DANCING 
Superb pen drawing; masterly treatment of motion. 
Signed “A. Carache” in lower right. 

Height, 71, inches; width, 10% inches 
From the Earl of Aylesford, Lugt 58, and J. Richardson Jr. 
Collections. 


ANNIBALE CARACCI 


1560-1609 


YOUTH PRAYING 

Masterly charcoal drawing. Signed “Annibale Caracci” at lower 
right. Height, 6 inches; width, 5 inches 
From the Sir Joshua Reynolds, Hone and Earl of Aylesford 
Collections. 


ST. CATHERINE 
Pen and sepia wash drawing. 

Height, 734 inches; width, 45 inches 
From the Earl of Aylesford Collection. 


CLASSICAL LANDSCAPE 

With many figures, cattle and boats in the foreground. Beauti- 
ful pen drawing. Height, 484 inches; width, 10 inches 
From the Earl of Aylesford Collection. 


65 


LODOVICO CARACCI 


BOLOGNA, 1555-1619 


228 A SAINT 


Pen and sepia wash drawing. 
Height, 914 inches; width, 64 inches 
From the Thomas Hudson and Sir Joshua Reynolds Collections. 


THE VIRGIN AND CHILD APPEARING TO A SAINT 
Pen and sepia wash drawing. 
Height, 11 inches; width, 7 inches 


From the Sir Joshua Reynolds and Earl of Aylesford Collections. 


JACOPO CARRUCCI (CALLED “IL PONTORMO”) 


1494-1557 


SHEET WITH VARIOUS SKETCHES 

In front, full-length sanguine figure of a Saint, and pen and India 

ink sketch of a Bishop with St. John the Evangelist. On the 

reverse, a sanguine study of St. Lawrence, seated. ) 
Height, 1114 inches; width, 734 inches 


NICCOLO CIRCIGNANO (CALLED “IL POMARANCIO”) 


231 


1519-1590 


SCOURGING OF CHRIST 

A beautiful sanguine drawing from the collection of Karl Spencer, 
on the reverse a collector’s mark “H.N.”, unidentified in Lugt, 
and two old attributions to Sebastiano del Piombo and Prima- 
ticcio. The latter does not seem unlikely to the writer, although 


‘the attribution on the mount is here retained. 


Height, 71 inches; width, 10Y, inches 
66 


PIETRO DI BENEDETTO DEI FRANCESCHI 


(CALLED PIERO DELLA FRANCESCA) 


1416-1492 


232 KING SEATED ON A THRONE 
This extraordinary quattrocento drawing had no attribution 
when it came into the hands of the writer (except the apparently 
false one to Raphael inscribed in ink in the upper left corner). 
Amusing research led to the above attribution. 
The authorship of Piero della Francesca occurred to the writer 
somewhat instinctively when he first saw the drawing and he set 
out to establish the correctness of his theory. It was first sub- 
mitted to a well-known Florentine collector, not named here for 
personal reasons. Upon the first glance this gentleman said that 
he felt he could prove that this was a work by Piero; he stated 
that he was engaged in writing on that master and asked me to 
have a photo of the drawing as he would like to publish it. The 
photo was sent, but no more was heard from the gentleman. From 
his house the writer went directly to the Uffizi, and submitted the 
drawing to Dr. Di Pietro, then curator of the famous collection 
of drawings. Without hesitation this gentleman declared that 
he was willing to vouch that this was the only drawing which 
could positively be attributed to Piero della Francesca. All other 
connoisseurs agreed that the attribution was justified and that 
this was a drawing of unique importance. 
A very similar figure can be found in Piero’s fresco in the Mala- 
testa ‘Temple (San Francesco), Rimini, representing Sigismondo 
Malatesta kneeling before St. Sigismund. The Saint, although here 
bearded, is seated in almost the same position, only turned to- 
wards the right. He is holding a rod in his right hand, in the 
same way as the figure of our drawing. Pen and bistre. 
Height, 74% inches; width, 43/4 inches 
From the P. H. Lankrink Collection (1629-1692), Lugt 2090, 
and the Crozat Collection, Lugt 474. 


| SEE FRONTISPIE CE | 


67 


JACOPO DA PONTE (CALLED “IL BASSANO”) 


1510-1592 


2338 CHRIST AND ST. THOMAS, SURROUNDED BY TEN 
APOSTLES | 
Powerful grisaille painting, of fine chiaroscuro effect. 
Height, 2014 inches; width, 16 inches 


ANDREA DEI MICHIELI 


(KNOWN AS “ANDREA VICENTINO”) 


VENICE, 1539-1614 
234 MARY MAGDALENE WASHING THE FEET OF CHRIST 


Composition of many figures in pen and sepia wash. 


Height, 1234 inches; width, 20 inches 


NICCOLO DELL’? ABBATE 


1512-1571 


235 THREE GIRLS FLEEING FROM A CHIMARA 
Pen and bistre drawing. 
Height, 634 inches; width, 1034 imches 
From the Lanier, Lugt 2886, Earl Spencer and W. Mayor Col- 
lections. 


SCHOOL OF ANDREA DEL SARTO 


FLORENCE, 16TH CENTURY 


236 CHRIST WASHING FEET 
Large composition of eleven figures, suggestive of the style of 
Pontormo. Charcoal. Height, 11% inches; width, 17 inches 


68 


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238 


259 


PAOLO FARINATI 


=~ 


1522-1606 


CUPIDS SUPPORTING AN ESCUTCHEON 

Pen and India ink. In lunette shape. On the reverse a note in 

Mr. Murray’s handwriting: “Better than Farinati, unknown.” 
Height, 41/4, inches; width, 1114 inches 

From the J. M. Rysbrack Collection, Lugt 19138. 


GIOVANNI BATTISTA FRANCO 


VENICE, 1510-1580 


SoieswilH TWO STUDIES OF THE VIRGIN, 
FAINTING 

On the reverse a magnificent sanguine study of the body of 
Christ. Pen and slight sepia wash. 


Height, 1014 inches; width, 81 inches 


GIOVANNI FRANCESCO GRIMALDI 


(CALLED “IL BOLOGNESE”) 


1606-1680 


CLASSICAL LANDSCAPE 
With bathers and boats in the foreground. <A beautiful pen 
drawing suggestive of the manner of Claude Lorrain; the old 
attribution on the reverse of the mount. 

Height, 73 inches; width, 10% inches 


ATTRIBUTED TO GIOVANNI FRANCESCO GRIMALDI 


1606-1680 


CLASSICAL LANDSCAPE 

With two large birds in the sky. Pen drawing, suggesting the 
same origin as the preceding piece, belonging to the Caracci 
circle. Height, 88@ inches; width, 113g inches 


69 


241 WARRIOR (JASON) FIGHTING A HUGE BIRD 
Pen drawing once attributed to Salvator Rosa, but quite similar 
in style to the two preceding pieces and most likely belonging to 
the Caracci group. Height, 814 inches; width, 914 inches 


ITALIAN SCHOOL 


LATE 16TH CENTURY 


242 ROMAN SOLDIERS, DESTROYING A BRIDGE 
Beautiful chiaroscuro drawing in pen, India ink and traces of 
white high-lights on green paper. Circular. 


Diameter, 1184 inches 


BERNARDINO LUINI 


LOMBARD SCHOOL: ACTIVE, 1465-1530 


243 A FEMALE SAINT (MARY MAGDALENE) 
Highly executed chiaroscuro drawing in charcoal, India ink and 
white high-lights on greenish-gray ground. A Lombard drawing 
of the greatest beauty. H eight, 1714 inches; width, 1314, inches 
From the Sir J. C. Robinson and T. Dimsdale (Lugt 2426) Col- 


lections. 


[SEE ILLUSTRATION | 


70 


BERNARDINO LUINI 


[NUMBER 243 | 


MARCO MARCHETTI (CALLED “MARCO DA FAENZA”’) 


FOLLOWER OF GIOVANNI DA UDINE ; DIED AT ROME, 1588 


244° DESIGN FOR RENAISSANCE DECORATION 
Pen and bistre; two lines of writing below containing the name 
of the artist. Height, 634 inches; width, 83/4, inches 


FRANCESCO MAZZUOLA (CALLED “IL PARMEGIANO”) 


1504-1540 


245 NUDE MAN 
Carrying aheavy load. Exquisite little pen drawing. 


Height, 314, inches; width, 25 mches 


ATTRIBUTED TO FRANCESCO MAZZUOLA 


1504-1540 


246 A JUDGMENT SCENE 
Probably the Judgment of Solomon. A vivid composition, with 
many figures in chiaroscuro of sepia wash with white high-lights. 
Height, 5% inches; width, 91/4, inches 


GIOVANNI NANNI (CALLED “GIOVANNI DA UDINE”) 


1487-1564 


247 RICH DESIGN FOR RENAISSANCE INTERIOR 
Height, 5 inches; width, 1034, inches 


V2 


JACOPO PALMA (CALLED “IL GIOVINE”) 


VENICE, 1544-1628 


248 CORONATION OF THE VIRGIN 
Pen and sepia wash. Dated 1626 in lower left. 
Height, 1134, inches; width, 8% inches 


249 THE JUDGMENT OF PARIS 
Pen and bistre drawing; signed Palma in lower right corner. 
Height, 7 inches; width, 94, inches 


ATTRIBUTED TO JACOPO PALMA (“IL GIOVINE” 


250 THE CRUCIFIXION 
Pen and bistre, with white high-lights. On the mount also the 
attribution to Cigoli, for which the writer sees little justificat-on. 

Height, 11 inches; width, 644 inches 


BALDASSARE PERUZZI 


1481-15386 


251 SCULPTURAL DESIGN FOR A WINDOW FRAME 
In richest Renaissance styie. Splendid drawing in pen and bistre. 
Height, 22 inches; width, 1234, wnches 


wep 
(oOo 


RAPHAEL SANZIO D’URBINO 


1483-1520 


2 


JOSEPH INTERPRETING THE DREAMS 
Original drawing for the painting in the Loggias of the Vatican. 


5 


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While the painting in the Loggias, owing to exposure and decay, 
has been entirely painted over and shows no traces of the 
Master’s hand, this drawing shows all his characteristic qualities. 
We know a number of Raphael drawings in the same medium 
(rehaussé aw lavis rose), and the authorities to whom this was 
submitted (I mention especially Dr. Di Pietro, former curator of 
the drawings at the Uffizi and probably the best connoisseur of 
Italian drawings) agree that this is an unquestionably authentic 
work by Raphael. Pen, bistre, pink water color, with traces of 
white high-lights. Height, 834 inches; width, 10 inches 


From the Sir Thomas Lawrence Collection. 


[SEE ILLUSTRATION | 


SCHOOL OF RAPHAEL 


ITALIAN, 16TH CENTURY 


263. "PFHE MADON/NA AND CHILD 
Lovely circular, pen and bistre drawing. Diameter, 57% inches 


Fr 


BARTOLOMEO SCHIDONE 


1560-1616 


254 SHEET WITH VARIOUS SANGUINE STUDIES OF THE 
MADONNA AND CHILD 
Height, 714 inches; width, 634 inches 
From the Houlditch, Mayor and Sir Thomas Lawrence 
Collections. 


rc: 


JOSEPH INTERPRETING THE DREAMS 
RAPHAEL 


[NUMBER 252 | 


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258 


JACOPO ROBUSTI (CALLED “IL TINTORETTO”) 


1519-1594 
A SAINT, KNEELING 


A superb charcoal drawing, in the Master’s best style. 
Height, 141% inches; width, 1114 inches 


ATTRIBUTED TO TINTORETTO 


SLAUGHTER OF THE INNOCENTS 
Masterly pen drawing of tremendous dramatic power. 
Height, 714 inches; width, 101% inches 


SCHOOL OF TINTORETTO 


THE SCOURGING OF CHRIST 
Pen, bistre and white high-lights on green paper. Signed 
‘Simone Veneziano” in lower left. 

Height, 8 inches; width, 6 inches 


CAVALIERE FRANCESCO VANNI 


SIENA, 1565-1609 


THE DEAD CHRIST, MOURNED BY FOUR SAINTS 
Pen drawing. Height, 10 inches; width, 95% inches 
From the Richard Cosway Collection. 


RELIGIOUS COMPOSITION OF SEVEN FIGURES 
Pen and bistre. Height, 614 inches; width, 714 inches 
From the Crozat Collection. 


76 


VENETIAN SCHOOL 


LATE 16TH CENTURY 


260 THE VIRGIN SURROUNDED BY SAINTS 
“xquisite pen and bistre drawing, suggesting the hand or a close 
follower of Paolo Veronese. 


Height, 614 inches; width, 43 inches 


261 SCENE IN AN ANATOMY 
Interesting medical subject. Chiaroscuro drawing in  grisaille, 
belonging to the circle of Tintoretto and Bassano. 


Height, 534 imches; width, 9 inches 


FEDERIGO ZUCCARO 


1548-1609 


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RELIGIOUS SCENE 

Chiaroscuro drawing in pen, India ink and white high-lights on 
green paper. Height, 83, inches; width, 71 inches 
From the Crozat and Richard Cosway Collections. 


263 THE POPE GIVING AUDIENCE TO A GENERAL 
Composition of many figures in pen and sepia wash. 
Height, 10 inches; width, 158 inches 
From the John Thane Collection. 


264 AN ANGEL APPEARING TO THE HIGH PRIEST 
Pen and bistre. Height, 105% inches; width, 1414 inches 


265 KING DAVID, PSALMIST 
Powerful pen and sepia drawing. Note on the mount: ‘*Per 
la Cupola del Duomo di Firenze.” 


9 


Height, 914 inches; width, 734 imches 


ue 


TADDEO ZUCCARO 


ROME, 1529-1566 


266 THE LAST SUPPER 
Beautiful pen and sepia wash drawing. On the mount is a note 


by Mr. Murray: “Study for a picture in the Church of St. 
Maria della Consolazione.” 


Height, 514 inches; width, 1014 inches 


ITALIAN SCHOOLS 


17TH CENTURY 


NUMBERS 267-308 


GIOVANNI FRANCESCO BARBIERI 


(CALLED “IL GUERCINO”) 


1591-1666 


267 HEAD OF ABRAHAM 
Sanguine study for the painting, “Abraham dismissing Hagar”. 
On the same sheet sketch of a female figure in India ink wash. 
‘Height, 734 inches; width, 1034 inches 
From the Bouverie Collection, Lugt 325. 


268 THE LORD SENDING THE ANGEL OF THE 
ANNUNCIATION 
Pen drawing in Guercino’s typical style. 
Height, 1014 inches; width, 734 inches 
From the Earl of Warwick Collection. 


ATTRIBUTED TO GUERCINO 


269 GROUP OF THREE WOMEN 
Highly spirited pen drawing. Oval. 
Height, 648 inches; width, 47% inches 


78 


GIULIO CESARE BEGNI DI PESARO 


1620-1680 


270 CHRIST APPEARING TO THE MAGDALEN 


aga | 


272 


273 


Pen and bistre drawing. Height, 65% inches; width, 584 inches 
From the Count Fries Collection, Lugt 2903. 


PIETRO BERETTINI 


(COMMONLY CALLED “PIETRO DA CORTONA”) 


1596-1669 


THE ASSUMPTION OF THE VIRGIN 
Characteristic crayon drawing. On the mount the collector’s 


mark, Lugt 2372. Height, 141 inches; width, ‘714 inches 


SAMSON BETRAYED BY DELILAH 

Crayon drawing of the same vivid style and in the same medium 
as the preceding, and undoubtedly done by the same hand. ‘The 
attribution to Niccolo Berrettoni on the mount and on the 
reverse of the drawing seems to be a mistake caused by the 
similarity of names. Height, 914 inches; width, 1314, inches 
From the Sir Thomas Lawrence Collection. 


ATTRIBUTED TO PIETRO DA CORTONA 


THE POPE ON A THRONE SURROUNDED BY SAINTS 
Pen and bistre drawing. In the lower right an undecipherable 
signature which could not possibly be that of Pietro da Cortona. 
The writer does not know how the attribution was arrived at. 

Height, 13814 inches; width, 81% inches 
From the Crozat and Mayor Collections. 


79 


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~ 


GIOVANNI LORENZO BERNINI 


FAMOUS SCULPTOR, 1598-1680 


A MONSTRANCE 

In glory, surrounded by many angels. Brilliant pen and sepia 

wash drawing, signed L. Bernin at lower right. In the lower left 

is the dry stamp of the Sir Thomas Lawrence Collection. 
Height, 81 inches; width, 614 inches 


BACCIO DEL BIANCO 


BORN AT FLORENCE, 1604 


A STATE BARGE 

Probably a design for a float in a Florentine festival. Spirited 

drawing in pen and India ink. Signed “B.D.B.” on the right. 
Height, 614 inches; width, 1014, inches 


ATTRIBUTED TO GIOVANNI ANDREA BISCAINO 


DIED AT GENOA, 1657 


CHRIST EXPOSED TO THE POPULACE 
On the reverse four heads. Pen and sepia wash. 


Height, 8 inches; width, 5% inches 


BOLOGNESE SCHOOL 


17TH CENTURY 


THE VIRGIN ON CLOUDS 

Surrounded by Saints and Angels. Lovely chiaroscuro composi- 
tion in sanguine with white high-lights on brown paper, suggestive 
of Guido Reni or his school. 


Height, 1334 inches; width, 886 inches 
80 


DOMENICO MARIA CANUTI 


BOLOGNA, 1620-1684 


278 HEAD OF A YOUNG BOY. Black and red crayons. 
Height, 634, inches; width, 51/4 inches 


GIOVANNI BENEDETTO CASTIGLIONE 


1616-1670 


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THE ANGEL APPEARING TO JOSEPH IN HIS DREAM 

Drawing for the Master’s etching of the same subject. Powerful! 
and decorative composition in sepia wash with blue water color 
and white high-lights. Height, 1634 inches; width, 12 inches 


280 AN ANGEL APPEARING TO A SAINT IN PRAYER 
Drawing in the same medium and the same characteristic style 
as the preceding. Height, 1534 inches; width, 1134 inches 


JACOPO CAVEDONE 


BOLOGNA, 1577-1660 


281 MONK AT PRAYER 
Powerful charcoal drawing, with traces of white high-lghts on 
green paper. Signed “Cavedone” in lower right. 


Height, 14 inches; width, 9°. inches 


GIUSEPPE CESARI (“CALLED CAVALIERE D’ARPINO”) 


ROME, 1568-1640 


282 DESIGN FOR AN ALTAR 
Pen and India ink. Height, 9 inches; width, 1114 inches 


81 


JACQUES COURTOIS 


(COMMONLY CALLED “IL BORGOGNONE”) 


BORN IN FRANCE, 1621; DIED AT ROME, 1676 


283 BATTLE SCENE 
Red crayon and bistre. Characteristic drawing of vivid action. 
Height, 5 inches; width, 714 inches 


284 BATTLE BETWEEN CAVALRY AND FOOT-SOLDIERS 
Pen and bistre. On the reverse a note by Mr. Murray: “A fine 
specimen of Borgognone.” 

Height, 71% imches; width, 1014 inches 
From the John Barnard Collection. 


FRANCESCO CURRADO 


FLORENCE, 1570-1661 


285 BEHEADING OF A SAINT 
Grisaille painting, rich in chiaroscuro. 


Height, 7 inches; width, 814 inches 


CIRO FERRI 


1634-1689 
286 CHRIST APPEARING TO MARY MAGDALEN 


Spirited charcoal drawing. Ferri was a pupil of Pietro da Cor- 
tona, to whose style this drawing shows a marked resemblance. 
Height, 101% inches; width, 734 inches 


82 


287 


289 


290 


ATTRIBUTED TO GUIDO RENI 


ITALIAN SCHOOL, 17TH CENTURY 


GROUP OF MANY ANGELS, IN CLOUDS 
Holding an open book. Decorative drawing in pen and sepia 
wash. Height, 11 inches; width, 101% inches 


GIOVANNI LANFRANCO 


(CALLED “CAVALIERE GIOVANNI DI STEFAN O”’) 


BORN AT PARMA, 1581; DIED AT ROME, 1647 


CORONATION OF THE VIRGIN 

Circular composition for a cupola painting. Pen and India ink. 
Signed “Lanfranco” in lower right. Diameter, 814 inches 
From the ‘Thomas Hunter and Dr. Frazer (Dublin) Collections. 


THE ASCENSION OF CHRIST 
Chiaroscuro drawing in India ink and blue and white gouache. 
Height, 121, inches; width, 814 inches 


A YOUTH, SEATED 
Beautiful drawing in black and red crayons. 

Height, 614 imches; width, 514 inches 
From the Earl Spencer Collection. 


GENNARO LANDI 


ITALIAN, 1/TH CENTURY 


THE RAPE OF PROSERPINA 
Highly spirited drawing in pen, bistre, red crayon and white 
high-lights. With the collector’s mark, Lugt 2099. 

Height, 814, inches; width, 1114, inches 


83 


OTTAVIO LEONI 


ROME, 1578-1630 


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PORTRAIT OF CARDINAL NICCOLO MONALDESCO 
Charcoal on blue paper. Dated 1618. The name of the por- 
traitee on the reverse in ink. Beautiful and characteristic Leoni 
drawing. Height, 814 inches; width, 5% inches 
From the W. Mayor Collection, London. Mr. Mayor must have 
owned a whole collection of Leoni drawings, as most of the Mas- 
ter’s drawings bear that collector’s mark. 


[SEE ILLUSTRATION | 


CARLO MARATTA (ALSO CALLED “MARAT TI} 


1625-17138 
293° THE DANCE OF SALOME 


Vivid drawing in red crayon, pen and India ink. 
Height, 10 inches; width, 85 inches 


PIER FRANCESCO MOLA 


1612-1668 


294 SHEET WITH FIVE SKETCHES OF ST. JEROME 
In penitence (two on the reverse). Vigorous pen and ink draw- 
ings. Height, 10 inches; width, 834 inches 
From the Richard Houlditch Collection, Lugt 2214. 


295 LANDSCAPE 
A lake in the foreground. Pen and ink. 
Height, 634 inches; width, 1014 inches 
From the Uvedale Price Sale, 1854. 


84 


Btaeteerm eerie 


RL ELE RIOR: SOOT 


PORTRAIT OF CARDINAL MONALDESCO 
OTTAVIO LEONI 


NUMBER 2092 | 


FRANCESCO MONTELATICI (CALLED “IL CECCO BRAVO”) 


296 


bo 
Ko) 
= 


298 


FLORENCE, 1600-1661 


A DREAM 
Vivid drawing in black and red chalks. In the Uffizi collection 
is a large number of drawings in the same medium and charac- 
teristic style by the same artist. 

Height, 14 inches; width, 952 inches 
Irom the R. Hone Collection. 


GIOVANNI BATTISTA NATALI 


CREMONA, 1680-1700 
ARCHITECTURAL DESIGN WITH MANY FIGURES 


A splendid Renaissance hall; superb in perspective. Pen and 
India ink. Height, 141% inches; width, 1184 inches 


LORENZO PASINELLI 


BOLOGNA, 1629-1700 


DIANA AND ENDYMION 
Beautiful pen and bistre drawing. 

Height, 101% inches; width, 7 inches 
From the Count Gelozzi (Lugt 513) and Jules Dupan (Lugt 
1440) Collections. 


DOMENICO PIOLA 


GENOA, 1628-1703 


THE VIRGIN WITH THE CHILD AND ST. JOHN, ON 
CLOUDS 


Spirited pen and sepia wash drawing. 


Height, 9 inches; width, 6 inches 
86 


SALVATORE ROSA 


1615-1678 


300 GROUP OF SIX MEN 


Four of them kneeling. Characteristic pen drawing. 


Height, 45 inches; width, 434 inches 


GIOVANNI MAURO ROVERE (CALLED ““FIAMMINGHINO”) 


MILAN, 1570-1640 


801 JOSIAH’S ASCENT INTO HEAVEN 


Chiaroscuro drawing in pen, India ink: and white high-lights on 
bE, : 8g gs 


green paper. Signed below: “G. M. R. f 1614.” Octagonal. 


Height, 10 inches; width, 10 inches 
From the Sir.Thomas Lawrence Collection, and Lugt 2893. 


GIOVANNI DA SAN GIOVANNI 


FLORENCE, 1590-1686 
302 SHEET WITH THREE FIGURE STUDIES 
In pen and bistre. Signed at lower left. 


Height, 934 inches; width, 71% inches 
From the Sir Thomas Lawrence Collection. 


ELISABETTA SIRANI 
BOLOGNA, 1638-1665 
303 HEAD OF BEARDED MAN 
India ink drawing, with white high-lights on gray paper. 
Height, 85% inches; width, 7/4 inches 
87 


304 


306 


307 


ANTONIO TEMPESTA 


FLORENCE, 1555-1630 


NAVAL SCENE 

With group of officers in the foreground. Pen and sepia. 
Height, 7 inches; width, 81% inches 

From the R. Lamponi Collection, Lugt 1760. 


GIROLAMO TROPPA 


ITALIAN, FLOURISHED ABOUT 1700 


JUPITER AND JUNO 

On the reverse, clever sketches of cattle, sheep and a goat. 
Signed ‘Troppa”. Pen and sepia wash, with white high-lights 
on green paper. Height, 8 inches; width, 10 inches 
From the Earl of Aylesford Collection, Lugt 58. 


ANDREA VACCARO 


1598-1670 
PRESENTATION IN THE TEMPLE 


Chiaroscuro drawing, pen, bistre and white high-lights on green 


paper. Height, 81% inches; width, 714 inches 


DOMENICO MARIA VIANI 


BOLOGNA, 1668-1711 


STUDY OF A NUDE WOMAN 

Seated. On the reverse a similar sketch. Exquisite drawing in 
black and red crayon. Height, 1334, inches; width, 101 inches 
From the Sir Thomas Lawrence and R. Udny (Lugt 2248) 
Collections, 


88 


a ——— D 


308 


309 


310 


d11 


318 


DOMENICO ZAMPIERI 


(COMMONLY CALLED “DOMENICHINO”’) 


BnoLtocna, 1581-1641 
A MONK, KNEELING 


Powerful drawing in black and red crayons. 
Height, 1414 inches; width, 11% mches 


ITALIAN DRAWINGS 


18TH CENTURY 
NUMBERS 309-3822 


PIER LEONE GHEZZI 


ROME, 1674-1755 


CELEBRATED FOR HIS TALENT IN CARICATURE 


MAN, STANDING 

Pen and ink. Height, 814 wmches; width, 6 imches 
This and the following eight drawings form a set of extraor- 
dinary brilliancy. 


MAN ABOUT TO DRAW HIS SWORD 
India ink. Height, 914 inches; width, 61/4 inches 


SHEET WITH ABOUT TWENTY CARICATURE HEADS 
Five more on the reverse. Pen and ink. 
Height, 8 inches; width, 514 inches 


A CRIPPLE 
Standing between two men, one of whom is seated. Pen and ink. 
Height, 6 inches; width, 538 mches 


SHEET WITH THREE SEATED FIGURES 
And three mascarons. Pen and India ink. 
Height, 54% imches; width, 634, inches 


89 


314 


315 


316 


317 


318 


319 


SHEET WITH FIVE FEMALE HEADS 
And other little pen sketches. 
Height, 8 inches; width, 51, inches 


CAVALIER, STANDING 
Pencil and India ink. Height, 8 inches; width, 5 inches 


BEARDED MAN, STANDING 
Pencil; head and lower part executed in India ink. 
Height, 914 inches; width, 6g inches 


FOLINGHI, ABBE AND POET 
Caricature in pen and pencil with India ink wash. Signed at 
lower left: “L’Abbate Folinghi celebre Poeta.” 

Height, 734 inches; width, 41/4 inches 


CAVALIERE GIOVANNI PAOLO PANNINI 


Se 


1691-1764 
ROMAN RUINS 


Superb pen and sepia wash drawing, similar in style to the best 
work of Claude Lorrain. Height, 5 inches; width, 732 inches 


GIOVANNI BATTISTA TIEPOLO 


1696-1749 


THE VIRGIN APPEARING TO THREE SAINTS 

Brilliant pen and India ink drawing. The writer has seen many 
Tiepolo drawings in just this style and is convinced that the 
above attribution is correct. There is however on the back of the 
drawing a pencil attribution to P. Novelli. Bryan mentions a 
Pietro Novelli who was born in 1603; but as this is beyond 
question an 18th Century drawing, it seems quite justifiable to 
disregard this attribution. Height, 16 inches; width, 10 inches 


90 


GIOVANNI DOMENICO TIEPOLO 


(SON OF GIOVANNI BATTISTA TIEPOLO) 


1727-1804 


320 RESURRECTION OF A SAINT 


Exceedingly brilliant pen and sepia wash drawing. Signed 
“Dom. Tiepolo f.” at lower left. 


Height, 914 inches; width, 624 inches 


3821 THE LORD CREATING THE UNIVERSE 


Superb pen and India ink wash drawing. 


On the reverse in pen 
ieee 1) Padre Eterno.” 


Signed at lower left. 


Height, 1114 inches; width, 101% inches 


ATTRIBUTED TO GIOVANNI DOMENICO TIEPOLO 


322 ALLEGORY OF CHARITY 


Rich ceiling composition strongly suggestive of the style of the 
younger Tiepolo. Pen and India ink. 


Height, 15 inches; width, 914 inches 


PORTFOLIOS 


323. SEVEN LARGE LINEN-COVERED PORTFOLIOS 
Marked “‘disegni 1-7”. 


J. PAUL GETTY 
CENTER 


MA FEEDS Gaz ae 


° 


